THIS SUNDAY, APRIL 3... 3:30PM at 6353 Greene Street... JOIN US!
THIS SUNDAY, APRIL 3....Sunday Brunch and Art ....11 to 5 pm Special $6
NC Museum of Art opens exhibit titled "30 Americans," featuring works by contemporary blacks
SAAAC continues to succeed with First Saturday Art Tour
by Marichal Brown
Sacramento, CA-- Every first Saturday, the Sacramento African-American Art Collective (SAAAC) hosts a self-guided art tour exhibiting the works of established and emerging African-American artists. In addition, a wealth of talent by poets, musicians and other artists in various disciplines will be showcased. Participating artists are predominately from the greater Sacramento region and surrounding communities.
Art lovers will be able to view creative works in all media at over 10 venues throughout the city. People of all ages are encouraged to come out and enjoy this family-friendly event. The First Saturday Art Tour is free and open to the public from 12noon-9pm. Reception times for “Meet the Artist” opportunities are listed on the SAAAC Facebook page (www.facebook.com/SAAAC).
Art patrons may choose to go to some or all of the venues. The self-guided tour guides viewers from location to location ending at a Point of Destination closing reception. The Point of Destination spotlights, and is hosted by, a venue included in the tour. Artists and business owners from all the venues will be present. For the month of April 40 Acres Art Gallery 3428 3rd Avenue (Historic Oak Park) Sacramento, is the Point of Destination. This free event starts at 6:30pm.Seating is limited and guests are encouraged to arrive early.
Fine artist and cultural activist, Milton “510” Bowens presents “Food Stamps, Free Lunch and Fine Art” A Self Portrait. Join us as we artistically flash back to the sixties, seventies and eighties in a celebration of music, poetry and memory. A live DJ will spin old school hits and a select ensemble of the Sacramento area’s finest spoken word artist will perform. The evening will include a silent auction with proceeds benefiting Mr. Bowens’ Civil Arts Project.
Kinsey family presentation: Where art, history and business intersect
by Andrea Sardone
The College of William & Mary's Mason School of Business in partnership with the Muscarelle Museum of Art hosts Bernard, Shirley and Khalil Kinsey at 5:30 p.m. on Thursday, March 24 in the James W. and Dana Brenner Brinkley Commons Room, located in Alan B. Miller Hall.
The Kinseys are known for their collection of African-American Art, books and manuscripts that document and tell the remarkable story of African American triumphs and struggles from 1600 to present. The Kinsey Collection: “Shared Treasures of Bernard and Shirley Kinsey - Where Art and History Intersect “ has been on national tour to seven cites and is currently on display at the National Museum of American History, Smithsonian Institution until May, 2011. For more information, visit www.thekinseycollection.com.
Bernard Kinsey had a 20-year career with the Xerox Corporation and was an early pioneer in generating corporate support for a program for bringing African Americans and other minorities into the company and training them for jobs with opportunities for advancement. Having managed Xerox’s largest sales and marketing division, Kinsey held the top status in every sales and marketing position from 1968 through 1984. Under his leadership of the Xerox Black Employees Association, Xerox significantly increased the diversity of its workplace.
Kinsey has also been recognized for his efforts in rebuilding Los Angeles. As Co-Chairman of ReBuild Los Angeles, Bernard Kinsey was responsible for generating more than $380 million dollars in investments from the private sector for the inner-city of Los Angeles. He helped to bring over 33 grocery stores, pharmacies, hardware stores and other retail outlets, over 20 training programs, and loan funds into the heart of the inner-city community.
The Kinseys have raised over $22 million for charitable and educational organizations.
A New Take on “Primitivism”? Man Ray, African Art, and The Modernist Lens
By Holly Hunt
Of all the images I encountered in Man Ray, African Art, and the Modernist Lens, which completed its North American tour this winter with a stay at the University of British Columbia’s Museum of Anthropology (the catalog also won the International Tribal Book Award) the one that most caught my imagination was a photograph by British Surrealist Roland Penrose. It shows fellow Surrealists Paul Eluard and E. L. T. Mesens posed in conversation, gesticulating vigorously, wearing dark suits and carved African masks.
What startles the eye is how completely the two men are transformed. The masks seem no more or less arbitrary a form of self-fashioning than Eluard’s rumpled socks or Mesens’s white pocket square. The picture opens itself up to a range of readings. Do the masks conceal or reveal? Did Penrose intend a Freudian allegory, using African artifacts to reveal the “savages” beneath the suits? Or are we to think of the masks of Athenian tragedy and Japanese Noh, elements of the rituals by which life becomes art?
There are other questions to ask as well. Can this be anything other than two white men reducing the artifacts of a nonwhite culture to the status of props in their cerebral games? In my years as a graduate student, the academic word on artistic primitivism seemed unambiguous. It was straight-up cultural imperialism, an act of appropriation by western artists and intellectuals eager to project their own Hearts of Darkness onto the so-called savages. But this always seemed less than completely satisfactory to me, part of the story but not the whole of it.
Many of the pleasures of Man Ray, African Art and the Modernist Lens lay in its exploration of the many facets of the modernist fascination with African art, from serious engagement to frivolous exoticism and back again. Celebrities of the Harlem renaissance posed with African sculpture in the studio of African-American photographer Carl van Vechten. Haute couture milliner Lilly Daché collected Congolese hats, which inspired some of her own avant-garde designs. At the lowbrow end of the spectrum, a French publication entitled “Une nuit de Singapore”, would-be highbrow erotica full of dusky maidens, used images of African art to illustrate a textbook example of Edward Said-style Orientalism.
Brooklyn Museum Presents THE BROOKLYN ARTISTS BALL
Museum Trustee and arts patron Stephanie Ingrassia will chair the event with Sarah Jessica Parker acting as Honorary Co-Chair. The Museum will honor Brooklyn-based artists Fred Tomaselli, Lorna Simpson, and FrEd Wilson, as well as retiring Brooklyn Museum Chair, Norman M. Feinberg. Fred Tomaselli is best known for his highly detailed paintings suspended in clear epoxy resin, which he has described as windows into a hallucinatory universe. Tomaselli has exhibited at the world's foremost galleries and institutions, including in a solo exhibition at the Brooklyn Museum in 2010. Ed Wilson
is an installation artist and a political activist who was chosen as the United States representative for the Venice Biennale in 2003. Wilson has had solo exhibitions around the world, including at The Museum of Contemporary Art, Chicago; the Fine Arts Museum of San Francisco; and The Studio Museum in Harlem. He is also included in the Brooklyn Museum's Permanent Collection. Lorna Simpson's work portrays images of black women combined with text to express contemporary society's relationship with race, ethnicity, and sex. Simpson was the first African American woman to be exhibited at the Venice Biennale, had a retrospective at the Whitney Museum of American Art in 2007, and is the subject of an exhibition currently at the Brooklyn Museum's Elizabeth A Sackler Center for Feminist Art.
The Brooklyn Artist's Ball will commence at 6 p.m. with a special VIP cocktail reception hosted by Honorary Co-Chair Sarah Jessica Parker in the Great Hall, amid a space-altering, site-specific architectural installation created by Situ Studio, a Brooklyn-based creative practice specializing in design and fabrication. The installation, reOrder: An Architectural Environment reimagines the classically ordered space, transforming the scale of the hall with stretched fabric canopies and integrated furnishings that swell, expand, and augment the profile of the existing monumental columns. Also exhibited in the Great Hall will be a pulsating animated video environment by Brooklyn-based video artist and designer Sean Capone, whose dynamic and mesmerizing large-scale video projections have received critical acclaim for their breathtaking effect.
Following the cocktail reception a sumptuous seated dinner will take place in the Museum's magnificent Beaux-Art Court. Table environments uniquely designed by Brooklyn-based artists including Aleksander Duravcevic, Valerie Hegarty, Ryan Humphrey, Bo Joseph, Jason Miller, Angel Otero, Duke Riley, Heather Rowe, Shinique Smith, Brian Tolle, Vadis Turner, Sara VanDerBeek and Anya Kielar, and Dustin Yellin will provide guests with an exceptional multi-sensory dining experience.
Tickets to the Brooklyn Artists Ball are available from $500 to $1,500 and tables range from $5,000 to $50,000. Tickets may be purchased online at www.brooklynmuseum.org. For further information on the event or ticket options please call (718) 501-6423 or e-mail emilie.schlegel@brooklynmuseum.org. Proceeds from the Brooklyn Artists Ball will support the Museum's exhibition, education, and outreach programs.
Staten Island Museum to begin preparing its new home
Thornton Township Black History Program Honors Dr. Margaret Burroughs
Technology and craft combine at the Milwaukee Art Museum
By Stanley A. Miller
When technology and art meet, the fusion can make digital wizardry the star of the show or it can simply be a creative means to an end.
A new exhibit featuring craftwork at the Milwaukee Art Museum shows how technology can be harnessed as basic building blocks of creativity. “The New Materiality: Digital Dialogues at the Boundaries of Contemporary Craft” shows technology broken down and blended into craft as seamlessly as wood, glass, metal or clay.
“Technology is inherent to the expression of these works, and they might not exist without it,” says Fo Wilson, curator and assistant professor at the University of Wisconsin-Milwaukee. “The thing that ties all these together is how they use the ones and zeros.”
For example, Nathalie Miebach’s “Warm Winter” lists “data” as a material used to weave her work of reed and wood. The intricate and chaotic combination of curves and abrupt angles represents research recorded from the environment. It even includes a key listing which materials represent what elements, including water, wind and sand. “Data determined what the piece looks like,” Wilson says. “You can read her work as a piece of science.”
The use of digital technology is just as important but more subtle in “Madam CJ Walker,” a massive array of black plastic hair combs arranged in the image of the African-American businesswoman.
Artist Sonya Clark took an image of the historical business icon, pixilated it using a computer and then used the positive and negative spaces of missing teeth in the combs to build the visage.
The pixilation intensifies as viewers move around the black-and-white plastic tapestry, which is as curious to see up close as it is from far away. The materials and technological technique magnify Clark’s metaphor: Walker made her fortune as a hair care entrepreneur marketing products to African-American women.
“The New Materiality” also has interactive craft creations reacting in the presence of people.
Rust and seaweed from its time under the sea are flaking off, and some rests on the museum’s floor. It’s a piece that looks as if it came from an alternate universe or a parallel timeline, fusing the synthetic and organic.
Many other works in “The New Materiality” show artists melding digital technologies into their handiwork in diverse ways. It’s an approach that worries some in the craft arts community, which honors the work of hand over the power of machines.
“The concern is that anything that moves us toward the machine is trying to take away something,” Wilson says. “I am not trying to take anything away from craft. I am just trying to add something.”
Reading gallery presents awards for student art
By Ed Terrell
For the past 10 years the Reading School District has been taking part in an art contest sponsored by the African American Coalition of Reading (A.C.O.R.), a gallery in the GoggleWorks in Reading.
For the contest, students needed to represent an African American figure in any media.
Themes could include Afro-Caribbean, historical figures, artists, musicians, sports figures, scientists, and family members.
More than 300 students, from first through 12th grade, submitted art, and 40 received awards.
Reading Mayor Tom McMahon and Reading School Board member Isamac Torres-Figueroa presented the awards in the A.C.O.R. gallery.
Categories were Best of Show, Best of School , Best of Grade and Best Theme.
The award for Best of Show went to Milly Piesencia, a junior at Reading High School.
The award for Best of School went to Alexandra Terrell, also a junior at Reading High School.
Florence Museum celebrates artist Johnson's 110th birthday
By DWIGHT DANA
FLORENCE N.C. — The trustees of the Florence Museum are holding a 110th birthday party for the late and noted artist William H. Johnson, a Florence native, Saturday at 2 p.m. on the lawn of the museum.
The trustees also will unveil their most recent acquisition at the party, which free and open to the public.
Never heard of William H. Johnson? Take a gander at some of the accomplishments of the 1918 graduate of Wilson High School:
He is featured prominently in every major American art history text.
He is considered one of the most influential American artists of the 20th century.
Florence is the only city in South Carolina that can boast of such an important native artist.
He could paint as beautifully and realistically as Rubens or Rembrandt, but he made a conscientious decision to paint with the simple, direct intensity of folk art in order to best document scenes of daily life of African-Americans.
His use of bright colors and large shapes, repeating lines, and patterns ultimately sparked a new movement in modern American painting.
He was celebrated as a major American artist in New York’s “Harlem Renaissance.”
He played an integral role in creating opportunities and acceptance for other black artists.
He was hugely successful in Europe in the 1930s and 1940s.
Johnson’s work was strongly influenced by Van Gogh, Cezanne and Soutine.
The Smithsonian American Art Museum has more work created by him than any other individual artist. It houses over 1,000 of Johnson’s works.
First lady Michelle Obama selected a William H. Johnson painting to hang in the White House.
But in recognizing and studying the work of William H. Johnson, the impression he leaves on children is the biggest deal of all.
Dr. Hunter Stokes is the chairman of the museum’s board of trustees. He became involved with Johnsonwhen he was serving on the state museum’s board of directors.
“Not many people have a 110th birthday party,” he said with a laugh. “William Johnson is probably the best known person to come out of Florence one of the three most outstanding black artists in the country. I’m looking forward to the party and hope we have a good turnout.”
Stokes said the acquisition that will be unveiled Saturday “is by far the most beautiful one I’ve ever seen” and among the top three he ever did.
Johnson recognized early that his aspirations were to become an artist. After graduating from Wilson High School in 1918, he moved to New York City, where he was admitted to the National Academy of Design, a prestigious art school. He excelled in painting, studying with noted artist Charles Webster Hawthorne.
Johnson graduated in 1926 and with private funds raised by Hawthorne he departed for France to further his studies.
Johnson met Danish artist Holcha Krake in 1926. She was skilled in weaving and ceramics. They were married in 1930 in Denmark and spent most of the 1930s in Scandinavia. Here Johnson’s interests in primitivism and folk art began to have a noticeable impact on his work.
Johnson returned to New York in 1938 and set up a studio in Harlem. His French-inspired European landscapes and portraits attracted the attention of the New York art world.
His fame soon spread when he received a Harmon Foundation gold medal. News of his award appeared in major newspapers across the country and even his hometown of Florence
He had visited Florence in the early 1930s. During this visit, Johnson was given the chance to exhibit his work for one day at the Florence YMCA.
Johnson’s search for home and heritage was grounded in his Southern roots. The South was the source of his deep-seated memories of endless fields of cotton and tobacco, one-room wooden shacks, rickety wagons pulled by powerful mules and oxen, and stoic, denim-clad farm workers.
Johnson’s paintings repositioned the standard folk narratives about rural people and the South along an incredibly modern style by using simplified, colorful forms.
Johnson’s first major solo exhibition in New York opened in May 1941 - the first time most of his African-American, folk-inspired paintings were shown. The exhibition was reviewed by the two major art journals and by all the large daily newspapers in New York.
Johnson said his personal philosophy “is to express in a natural way what I feel, what is in me, both rhythmically and spiritually, all that which in time has been saved up in my family of primitiveness and tradition, and which is now concentrated in me.”
Johnson’s wife died in 1944. He was hospitalized at the Long Island’s Central Islip State Hospital in the late 1940s. He spent 23 years there before his death in 1970.
The Florence Museum is open Tuesday through Saturday, 10 a.m. to 5 p.m. and Sunday from 2 to 5 p.m.The museum is located at 558 Spruce St. and the website is www.florencemuseum.org.