Seeds of Resistance @ MSU Broad

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Within the Arctic Svalbard Archipelago on the Norwegian island of Spitsbergen is a structure known colloquially as the “Doomsday Vault.” Here, buried deep within a mountain and preserved in sub-zero temperatures are thousands of boxes from all over the world containing roughly a million airtight seed packets.  The vault exists to preserve Earth’s biodiversity, acting as a safety net mitigating the environmental effects of any potential natural or human-made ecological disaster. It’s also a sort of United Nations; here you’ll find boxes of seeds deposited by both the United States and North Korea (and they’re quite literally on the same shelf, no less).  The Doomsday Vault is just one of many seed vaults and libraries catalogued in Dornith Doherty’s photographic series Archiving Eden: The Vaults, a body of work which documents our best efforts at ecological preservation. At Michigan State University’s Broad Art Museum, her work currently joins that of many other artists who collectively speak to the need for humanity to actively preserve Earth’s biodiversity.

Seeds of Resistance compellingly equates the preservation of seeds with the preservation of genetic information, cultural heritage, and cultural knowledge.  The show brings together a diverse body of work by international artists and educators who collectively assert the importance of biodiversity, and reflect on the human imprint on the environment, for better or for ill.  The show also celebrates the legacy of MSU’s own Dr. William Beal (1833-1924), the founder of the school’s W.J. Beal Botanical Garden, and whose Seed Viability Experiment remains the longest running scientific experiment in modern history.

Several prominent works on view emphasize the presence of healthy, living soil as integral to any vibrant ecosystem.  A large multimedia ensemble by Claire Pentecost invites us to consider the value of healthy soil by drawing a parallel between soil and currency.  Here, she stacks blocks of soil sculpted to resemble gold ingots; these are accompanied by twenty-six paintings arranged into a sort of triptych.  They collectively represent a hypothetical currency which Pentecost calls the soil-erg, a counterpart to the petro-dollar.  Using actual soil to render these images, each painting suggests a different type of imagined bank-note; some commemorate historic figures famous for their contributions to our understanding of agriculture, and others celebrate the non-human creatures that are an integral part of the soil-food web.  The earthworm and the bumblebee are championed along with Charles Darwin and Henry David Thoreau.

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

The works of Antonio Moreno and Dylan Miner also thoughtfully underscore the content of their art with the material they work with.  For his collective project Live the Free Fields, Moreno invited over fifty participants to fashion over 1,000 mushrooms out of clay (itself a type of soil), which here seem to be sprouting from the floor of the gallery space and together suggest the Earth’s many extant varieties of fungi.  Conversely, Dylan Miner speaks to the destruction of healthy ecosystems with a triptych showing a stretch of the Kalamazoo River, the sight of a massive oil spill in 2010.  To render the map-like painting, Miner applied bitumen, a type of crude oil, to give the painting its sludgy, oily appearance.

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

In an adjacent gallery space we find an ensemble of large photographic prints from Dornith Doherty’s Archiving Eden series.  Some of these unpeopled images come across as haunting and surreal.  Perhaps this is what we might expect, after all, of images documenting a place nicknamed “The Doomsday Vault” (though the place is more properly called the Svalbard Global Seed Vault).  Her series documents seed vaults and libraries all over the world though, and some of these libraries are actually very much alive, such as the apple tree collection at Cornell University in New York, which is an orchard preserving over 300 species of apple.  Fittingly, in this space her work is complemented with an actual library catalog, itself a conceptual work by Johannes Heldén and Håkan Jonson.  With the help of artificial intelligence, the artists filled the drawers of an old-style library catalog with 30,000 index cards, each describing some imaginary future species of creature made extinct by humans.  Inside this exhibition’s program/pamphlet, you’ll find several sample copies of these entries on 3×5 index cards (mine included an entry for “Megaptera citri,” described as a social, urban, nocturnal creature made extinct by humans in 2514 AD).

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Seeds of Resistance installation view at the Eli and Edythe Broad Art Museum  at Michigan State University, 2021. Photo: Eat Pomegranate Photography

Supplementing the art in this gallery space are several tables which display artifacts and ephemera that belonged to Dr. William Beal.  Here we learn about Beal’s Seed Viability Experiment; launched in 1879, the experiment is still going on today, and it assesses the duration of the seed’s ability to remain dormant and still be able to sprout. The content here is historic and informational rather than artistic, but Beal’s importance to agricultural botany and his significance to MSU aptly makes him a central part of this exhibition.

With Seeds of Resistance, the Broad continues its fine tradition of programming that connects the visual arts with the sciences and other disciplines, and this show in particular makes excellent use of the University’s strengths as an agricultural school. Furthermore, the topic of preserving Earth’s biodiversity is certainly relevant.  In 2015, after all, as the direct result of civil war, Syria became the first country that found it necessary to withdraw the seeds it had deposited into the Spitsbergen Norway Seed Vault. It very likely won’t be the last.

Seeds of Resistance is on view at the MSU Broad through July 18.

Brian Rutenberg and Frank Fisher @ BBAC

Brian Rutenberg, painter, and Frank James Fisher, ceramicist, open the Spring Season of 2021 at the Birmingham Bloomfield Art Center

As Michiganders crawl out of the winter and the Covid-19 pandemic (be it as slow as it is), we are greeted by the BBAC exhibitions that make it worth our time for a visit.  The main gallery features the ceramic work by Frank Fisher and Brian Rutenberg’s abstractions in the Robinson Gallery. “This is a must-see, exceptional exhibit,” said Annie VanGelderen, BBAC president and CEO. “Truly, all of our spring exhibiting artists are particularly wonderful in their own mediums.  Visitors will certainly leave inspired.”

Brian Rutenberg, Installation, 3.2021 All images courtesy of DAR

Sitting in the Robinson Gallery for a lengthy amount of time, I begin to acclimate to these large oil paintings by the nationally known artist from South Carolina, Brian Rutenberg.  The imagery gradually falls into place, something I would describe as abstract landscapes where there is an abundance of woodlands, horizons, skies, streams and rivers. Although he has spent his adult life, post-graduate school,  in New York City, these compositions are unique, inspired by the coastal Carolina landscape of his youth.  Those formative years must have made its mark on Rutenberg’s sensibility in terms of subject matter, as he brings this vibrant color scheme and the issue of scale to the forefront of the work.  If these paintings were all 20 x 30 inches, we would not be so affected. Still, Green River is a portal into the richness of heavily applied oil paint in a variety of ways and a color scheme that uses primary and secondary colors in a form that is individual to each painting.  There is a newness in how Rutenberg handles his forms, something that separates him from other abstract landscape painters, leaving us with a unique experience.

Brian Rutenberg, Green River, Oil on Linen, 63 x 160″

Brian Rutenberg, Detail Green River

Here is a detail from Green River (18 x 20 inches), where we see Rutenberg using a large variety of tools to spread paint: brushes, sticks, pallet knives and trowels. There is a color selection which repeats throughout the work that reflects on the subjects, a stream or vertical branch, and skies that reach out into a variety of pastel hues.

Brian Rutenbert, Corsair, Oil on Linen, 60 x 82",

The large 60 x 82 inch oil painting, Corsair, is another example of an abstract landscape where there is a horizon running horizontally with vertical lines like tree branches on the left and a blue stream on the right. The foreground dominates the composition with organic brown and foliage green.  The landscape may be subliminal, but it is clear to this viewer that Rutenberg’s abstract expressionism consistently repeats itself throughout the work. The Myrtle Beach-born painter is obsessed with the physicality of low hanging trees along South Carolina’s waterways, and continued to draw on those years long after moving to New York City.  When I refer to the term abstract expressionism, it would be similar to the female paintings by Willem de Kooning, where the figure is abstracted. Rutenberg does this in a unique way with his abstract landscapes.

Brian Rutenberg earned his undergraduate degree from the College of Charleston and his Masters of Fine Arts from the School of Visual Arts in New York City.

 

Frank James Fisher Ceramics Draw on Everyday Imagery

Frank James Fisher, The Ol’ Yes No, Slab-built porcelain, Raku Fired, reduction

A native Michigander from Milford, Frank James Fisher, has what he calls Pop Artifacts on display in the Birmingham Bloomfield Art Center’s main gallery.  These reasonably small works are mostly slab construction using porcelain clay and a Raku firing. Some of the parts to these ceramic pieces are thrown on a potter’s wheel, but most come from lumps of clay rolled out into slab constructions where he adds photo imagery to the surface.  The title Pop Artifacts comes from using commercial images like Starbucks and goes back to the 1970s when artists like Andy Warhol used images from Campbell soup cans and a Brillo pad logo to create their art.

Frank James Fisher, Starbanks, Slab-built porcelain, Raku Fired, reduction

He says in his statement, “Advertising has recalibrated my brain. Forty years of working in the marketing community has saturated and skewed my aesthetic away from traditional art expression. My mind prefers graphics, headlines, logos, body copy, photos, illustrations, taglines, and any other marketing tool to express my creative thoughts. These are the tools I use to build narratives and fabricate impossible consumer products out of clay. I call them Pop Artifacts. Sculpted, cast, pressed, or thrown, these ceramic objects represent the desires we chase in the hope of capturing satisfaction.

Frank James Fisher, Frank Oil Tea-can, Wheel thrown, hand-built porcelain, Raku- fired, reduction, metal & wood handle

Inspired by mineral spirit containers from years ago, Fisher’s Tea-cans have the retro-look of an older metal fabricated chamber that might resemble a favorite of many ceramicists, the Tea Pot. Using hand-cut stencils, he applies them to greenware by adding glaze to the bare surface in various steps and then relies on the Raku process to achieve his desired aged look.

Frank James Fisher earned his BFA in graphic design from Central Michigan University and worked in advertising for 25 years until 2006 and teaches advanced ceramics courses in the metro-Detroit area where he demonstrates his art methods at workshops.

Both exhibitions at the BBAC run through April 22, 2021

Wayne Thiebaud @ Toledo Museum of Art

Wayne Thiebaud 100: Paintings, Prints, and Drawings @TMA

Wayne Thiebaud, Boston Cremes, 1962. Oil on canvas, 14 x 18 in. Crocker Art Museum Purchase, 1964.22. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

 

Prior to the Toledo Museum of Art’s exhibition Wayne Thiebaud 100: Paintings, Prints and Drawings, all my knowledge of the artist came from a handful of images from 20th Century art history books, which mostly featured his paintings of slices of cake behind glass which, like the repetitive Campbell’s Soup cans of Andy Warhol, offered subtle commentary on postwar commercialism and mass-production. But here we’re exposed to the full breadth of his artistic career, which also encompassed still life painting, portraiture, landscapes, cityscapes, and more, and all in a broad array of media. While Thiebaud may have initially made his mark as a staple of Pop-art, this exhibition reveals that his work is surprisingly diverse and rooted in art-historical tradition, and that he had an uncanny ability to translate centuries-old genres into the artistic vocabulary of the 20th and 21st Centuries.

Born in 1920, Wayne Thiebaud’s panoramic career has taken many trajectories, and it isn’t over yet.  When he was just sixteen, he took a job at Walt Disney Studios, working as an animator for Pinocchio and a variety of film shorts.  During the Second World War he joined the airforce intending to become a pilot, but was transferred to the Special Services Department where he worked as a map, mural, and poster designer.  After the war, he both studied and taught at Sacramento City College, and fell under the influence of the New York School of postwar abstract expressionists, such as Pollock, Kline, and DeKooning, whose gestural abstract style he  conscientiously began to quote in his own work, as in his very abstract painting The Sea Rolls In (on view in this exhibition). But Thiebaud ultimately  preferred representational art, and in his serialized paintings of frosting-rich plates of cake, he found a way to synthesize the gestural impasto of DeKooning with the illustrative nature of traditional still-life painting.

Filling the entirety of the TMA’s spacious Levis Gallery (and even spilling over into a large adjacent gallery) are chronologically arranged works which span the breadth of Thiebaud’s career, some on view for the first time.  Trucker’s Supper, a work in the TMA’s permanent collection, sets the tone of much of the subsequent work on view; a plate with a slab of roast beef and some french fries inhabits a stark-white indeterminate background space, all the paint rendered in rich imposto (an effect which mostly gets lost in translation when these works are reproduced in books or online).  Thiebaud was a figurative and illustrative artist, but if you step in close, you’ll see passages of brushwork that reveal his admiration for his abstract expressionist counterparts. While his paintings are certainly not hyperrealistic, in applying the paint so thickly some of his paintings of cakes become almost sculptural, and the paint mimics the texture of frosting with a surprising realism bordering on trompe l’oeil trickery.

Wayne Thiebaud, Pies, Pies, Pies, 1961. Oil on canvas, 20 x 30 in. Crocker Art Museum, gift of Philip L. Ehlert in memory of Dorothy Evelyn Ehlert, 1974.12. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

After firmly (and perhaps unwittingly) establishing his reputation as the painter of cakes and pies, Thiebaud explored figure painting so as not to be defined by a single subject. Like his still lifes, his figures generally inhabit empty white spaces, recalling the portraits of Manet, who often placed his figures against grey, uninhabited space (as he did with his portrait of the French journalist Antonin Proust, a work in the TMA’s collection just a few galleries away).

Wayne Thiebaud, Betty Jean Thiebaud and Book, 1965–1969. Oil on canvas, 36 x 30 in. Crocker Art Museum, gift of Mr. and Mrs. Wayne Thiebaud, 1969.21. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

Thiebaud was largely unsatisfied with his early attempts at portraiture, however, and in the 1960s he turned toward landscapes and cityscapes, genres he would continue to explore in subsequent decades.  But his treatment of the subject is joyously whimsical.  Thiebaud’s improbably vertical cityscapes and landscapes heave and buckle in a visual parody of the streets of San Francisco and the mountainous terrain surrounding the San Fernando Valley.  Some of these stylized landscapes feature parabola-shaped hills, and seem like playful, almost cartoon-like caricatures of the land (in the 1940s, Thiebaud indeed worked for a while as a cartoonist).

Wayne Thiebaud, Street and Shadow, 1982–1983/1996. Oil on linen, 35 3/4 x 23 3/4 in. Crocker Art Museum, gift of the Artist’s family, 1996.3. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

Wayne Thiebaud, Park Place, 1995. Color etching hand-worked with watercolor, gouache, colored pencil, graphite, and pastel, 29 9/16 x 20 3/4 in. (sheet/image). Crocker Art Museum, gift of the Artist’s family, 1995.9.50. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

A generous selection of prints and drawings makes the point that Thiebaud was also a consummate draftsman.  He was interested in printmaking for the entirety of his career, and in Delights (a series of seventeen aquatints), Thiebaud applied the visual textures of hatching and cross-hatching to replicate in a different media the tactile textures we find in all his previous still lifes.  Featuring reductive, scribbled-in  illustrations of cakes, pies, and ice-cream cones, these small prints have the stylized polish we might expect of a New Yorker cartoon (a publication for which Thiebaud illustrated many covers, and subscribers to the magazine will have recently seen his painting Double Scoop grace the August 17, 2020 issue).

Wayne Thiebaud, Dark Chocolates, n.d. Etching hand-worked with colored pencil, 8 7/8 x 10 1/4 in. (plate), 14 3/8 x 15 1/4 in. (sheet). Crocker Art Museum, gift of the Artist’s family, 1995.9.36. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY.

Wayne Thiebaud, Cake Window, from Delights series, 1964. Etching, 4 15/16 x 5 7/8 in. (plate), 12 3/4 x 10 3/4 in. (sheet). Crocker Art Museum, gift of the Artist’s family, 1995.9.1.13. © 2020 Wayne Thiebaud / Licensed by VAGA at Artists Rights Society (ARS), NY

The show concludes in an adjacent gallery space which showcases some of his recent work, which is largely a continued exploration of earlier themes and genres.  But here we also find an ensemble of paintings that feature clowns, a new subject in his work.  Stylistically, these subtly parallel his paintings of cake and pies, and much as Thiebaud used paint to replicate the thick frosting on a cake, here it replicates impastoed clown makeup.

Wayne Thiebaud 100: Paintings, Prints, and Drawings is a diverse and sprawling exhibition, which is exactly the sort of retrospective the artist deserves given the breadth and depth of his oeuvre.  While Thiebaud developed a distinctly recognizable style of his own, he was never bound to a specific theme or genre, and this exhibition triumphantly gives the lie to any notion that Thiebaud was simply the Pop-era painter of cakes and pies.

Wayne Thiebaud 100: Paintings, Prints, and Drawings is on view at the TMA until May 2, 2021

Tylonn J. Sawyer @ N’Namdi Center for Contemporary Art

Installation image, Tylonn J. Sawyer, N’Namdi Center for Contemporary Art, 3.2021 All images courtesy of the Detroit Art Review

A new exhibition, White History Month Volume I and II: The Year of the Flood by Detroit native artist Tylonn J. Sawyer is now on display at the N’Namdi Center for Contemporary Art and runs until June 19, 2021.  There is a cadre of contemporary Detroit artists that express themselves using the figure as the dominant source of their subject matter, including Mario Moore, Sydney James, Peter Williams, Tyanna Buie, Senghor Reid, Rashaun Rucker to name only a few, but no one that takes on the visual language associated with the power and oppression leading to the social injustice against African Americans, as does Tylonn J. Sawyer.

He says in his statement, “Within this collective body of work, I’m interested in themes of black motherhood, confident hypocrisies observed in politics, religion, and the overall social order. Culling from the Western History and cultural tropes, the work in this exhibition centers on the distortions in American social fabric.”

Tylonn J. Sawyer, The Birth of Venus, Oil and Mixed Media on canvas, 72 x 48″, 2021

The painting from 1480 by the Italian artist Sandro Botticelli, The Birth of Venus, depicts the goddess Venus arriving at the shore after her birth when she had emerged from the sea fully-grown. The painting was created during the Italian Renaissance, has dominated western art for seven centuries, and as we see,  Sawyer selects the title to give new meaning to this painting’s title.  When I first experienced the work, I was thinking of Madonna and Child in our contemporary urban world, taking from one of the most popular titles in art history. Here in Sawyer’s work, the standing portrait with child is drenched in symbolism. The American flag is the backdrop for this new mom holding her infant surrounded by butterflies.

Tylonn J. Sawyer, Three Graces: Aretha, Oil on canvas, 72 x 60″, 2019

The painting Three Graces: Aretha is a large oil painting that depicts three African American women standing in front of the American flag with these hand-held black and white masks of the performer Aretha Franklin.  This motif is used in several of Sawyer’s paintings; as an example, he uses Nina Simone and Martin Luther King as the subject of masks.  The concept raises a question in the viewer’s mind: What is the idea presented, and where does it come from?

Sawyer explains, “Borrowing from rituals in sub-Saharan Africa where people would place the mask of their ancestors and spiritual deities to seek counsel for contemporary problems, the figures in this exhibition wear masks of civil rights leaders, activists, artists, and political figures. The figures represent metaphoric deities placed on the backdrop of Americana. Using religious metaphor, history, pop culture, and the flag as sacred symbols of America, I am exploring questions of how Blacks exist within the mythology of Americana.”

Tylonn J. Sawyer, Your Founding Fathers Owned Slaves and We Ain’t Forgot that Shit II, Oil on canvas, 48 x 32″, 2021

Tylonn Sawyer must have known that when it came time to apply for graduate school, he wanted to attend a school specializing in representational art, focusing on figurative painting. The New York Academy of Art is a graduate school that combines intensive technical training using methods and techniques that met his goals.  The painting Your Founding Fathers…the work that is tongue-in-cheek where the African American female is working on a portrait of George Washington—reminds us that not everyone is a descendent of the first U.S. president.

Tylonn J. Sawyer, Missy Misdemeanor Elliot, Charcoal and glitter on paper, 30 x 22, 2020

Throughout the exhibition, there is a collection of charcoal drawings, 30 x 22″ as in Missy Misdemeanor Elliot, that illustrates portraits from famous contemporary celebrities that remind people that there is much accomplishment in the entertainment business.  Sawyer gives credit where credit is due by featuring these realistic headshots where some are surrounded with gold foil.  Sawyer says “Using Hip-Hop, a music genre and culture as a not only medium for both the audio and historical soundtrack, but also as witness to our participation in history, Year of the Flood, immerses the viewer in a body that  refracts movement through a false sense of stasis, offering various aspects of praise and conflict with and of Americana.”

Tylonn J. Sawyer, Every Now and Then, 84 x 50″, Charcoal and Acrylic on Paper, 2017

The large work, Now and Then, charcoal and acrylic is a field of police painted with flat white acrylic faces, depicts the officers as automated cutout droids crammed together in search of a strategy. The symbolism of a police force lacking the diversity it deserves is one more example of Sawyer’s tools to make his social injustice message loud and clear.

Tylonn J. Sawyer, The King James Version, 30 x 22″, Oil on Paper, 2020

The King James Version, also known as the King James Bible, is an English translation of the Christian Bible for the Church of England in 1604.  Historically,  Britons were enslaved in large numbers, typically by wealthy merchants, who exported indigenous slaves from pre-Roman times and became significant participants in the Atlantic slave trade. The painterly portrait here depicts a contemporary African American draped in the U.S. flag, poking fun at such an event’s impossibility.

Throughout our country’s history, the intersection of art and activism has played a crucial role in social movements against inequality, oppression and injustice.  The authors of the Declaration of Independence outlined a bold vision for America: a nation where there would be equal justice for all. More than two hundred years later, it has yet to be achieved.  Though generations of civil rights activism have led to significant gains in legal, political, social and educational realms, the forced removal of indigenous peoples and the institution of slavery marked the beginnings of a system of racial injustice from which our country has yet to recover.

Tylonn J. Sawyer earned his BFA from Eastern Michigan University and his MFA from the New York Academy of Art.

White History Month Volume I and II: The Year of the Flood at the N’Namdi Center for Contemporary Art runs through June 19, 2021.

 

Souls of Black Folk: Bearing Our Truths @ Scarab Club

Installment Image, Souls Of Black Folk, Scarab Club, Detroit, Images : Courtesy of David E. Rudolph/ D. Ericson & Associates Public Relations.

In  W.E.B. DuBois’ essay, “Of Our Spiritual Strivings” from his poignant collection, The Souls of Black Folk, the sociologist makes a thorough and thought triggering assessment on being Black in America.

“The  Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world, — a world which yields him no self-consciousness, but only lets him see himself through the revelation of the other world,” he wrote. “It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity. One ever feels his two-ness; an American, a Negro; two souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder.”

Written in 1903, this passage is  the impetus for  the exhibition Souls of Black Folk: Bearing Our Truths, on view at the Scarab Club through March 20. Curated by Donna Jackson, artist and owner of DMJ Studios, DuBois’ words and concept of dual identity – being Black and being American– resonated on a deeper and heightened level for Jackson throughout 2020 – a year imploded with a global health pandemic that still looms and a socio-political and racial reckoning that forced America to finally discuss racism and injustices on a worldwide stage.

In a reflective statement about the exhibition, Jackson expressed, “With the death of George Floyd and the amount of pain and in many cases,  guilt I have seen poured in our streets and in our media, I went back and re-read The Souls of Black Folk. The two-ness of being Black and American sits heavy and true with me. Sometimes this feeling is hard to pinpoint or express and yet, DuBois did it simply. It freed me to know that this feeling can be described. It is okay to be these two things. To be Black. To be American. The challenge is being accepted as both.”

The collection features the works of twenty, established and emerging Black artists – a first in the Scarab Club’s 100+ year-history– and range in emotion from depictions of harsh truths of existence in a Black body as well as expressions of joy, love and being human.

Jackson’s Black and Blue, sets a strong tone. The massive acrylic painting depicts a faceless  black body as a shooting target, a red dot is on the chest and  the words black and blue are scribbled throughout.  ‘Black Lives Matters’ and  ‘Blue Lives Matter’ chants mentally collide, drawing flashes of the racial  contention and shooting deaths of Black men and women by police officers and white citizens. I am reminded of Dubois’ use of the veil as a metaphorical presentation of the color line, racial oppression and injustices.

Donna Jackson| Black and Blue (Who’s The Target) | Acrylic on Canvas

There’s a trauma that exists within  Blackness that is inexperienced in mainstream America. Yvette Rock’s The Brutal Passage depicts the foundation of that pain. Accompanied by a performance, entitled 400 Years of Labor, the magnitude of the mixed-media canvas is aptly felt. Before the artist appears on screen, chains clinking is the first sound, followed by foot thumps, groans and heavy breathing. The artist appears carrying the thick canvas, each step a struggle. Each step a reminder of slavery and the oppressive mentality behind it.

The emotional and psychological grief  that comes with injustice and trauma carries over into Carole Morriseau’s chilling, The Healing Wall. The mixed-media ensemble comprises four quadrants, containing 1200-1500 colorful ribbons with painted portraits bearing the names of Black lives lost due to police brutality. George Floyd.  Rodney King. Breonna Taylor. Ayanna Jones. Emmett Till. And the list of Black and brown souls, gone (as we see it) too soon, goes on. Morriseau also incorporates phrases #StopTheKillings and #IAmTrayvon to represent social justice movements.  The visual breaks your heart, but there is  also a source of strength, purpose and a knowing that this is why we must continue to lift their names and use the tears as fuel to keep marching forward in hopes of a just world.

Yvette Rock | The Brutal Passage | Mixed Media on Canvas| 72×36| 2020

Carole Morriseau | The Healing Wall | Mixed Media | 45×50| 2020

Grief is heavily felt in the aforementioned pieces and in Rita Dickerson’s$100,000,000 SLAVES: The Absence of Black Ownership and Control, that never settles.  In this assortment of feelingsthere is a visceral balance and resilience presented in the installation. We see the way joy claims its right to shine in spite of historical pain and constant wearing of the veil in Cydney Camp’s Juneteenth (Teenth) painting, which depicts a couple laid out in a yard, smiling while taking in a hot day, and Ralph Jones’ life photo, We’re All Here,  that shows Black and brown children and families playing in water at Hart Plaza,  and certainly in Mandisa Smith’s Black Joy made from felted wool. This is part of the story, too. This is love and care.

Mandisa Smith | Black Joy | Mixed Media | 18inx18in | 2020

Honoring the ancestral realm with spiritual grounding and understanding “I am, because they are,” Monica Brown’s mixed-media-on-wood painting and image-making, I Prayed For You Before You Were Born (I) and Prayed For You Before You Were Born (II ),  are soothing like a needed hug. The art works are part of the artist’s ‘Mythical Memory’ series rooted in connections between the body, memory, personal history and healing. The circular motion in these small but mighty visuals feels like  a continuous prayer and donning of armor by loved ones. 

Monica Brown | I Prayed For You Before You Were Born (I) | Acrylic and Mixed-Media on Wood | 8”x8”

Monica Brown | I Prayed For You Before You Were Born (II) | Acrylic and Mixed-Media on Wood | 8”x8”

Olivia Guterson’s Sankofa, is reminiscent of Ghana’s Akan tribe and the mythical bird that serves as one of the Adinkra’s cultural symbols. With its head turned backward, the posturing speaks to embracing “what is at risk of being left behind.” Further, the three syllables that make up the word “Sankofa” mean return, go, look, seek and take. With this in mind, Guterson’s illustration welcomes a form of travel and seeking wisdom. There’s a present comforting that feels ancestral and communal. The artists’  use of black-and-white, textured lines and eyes throughout the image, brings both intensity and a sort of calm on this quest for knowledge and using the past as a guide to the future.

Olivia Guterson | Sankofa, 2020 Oil and ink on archival paper | 10×14

Throughout Jackson’s curation, we see the complexities and layers of the Black experience. We see love, the rich appreciation of  literature, music, connection, progressive thinking and being amid the struggle and the striving. Souls of Black Folk: Bearing Our Truths is a looking glass for not only a deep dive into DuBois’ philosophy but that of Black life as narrated by Black visual artists.

View closely, Black voices have stories to tell. And this exhibition SPEAKS.

“The human soul cannot be permanently chained.” – W.E.B. Dubois

Olivia Guterson | Sankofa, 2020 Oil and ink on archival paper | 10x14

Desiree Kelly | W.E.B Du Bois | Woodburn, oil, acrylic, collage on wood | 12 x 12

Participating Artists: Monica Brown, Taurus Burns, Cydney Camp, Rita Dickerson, Olivia Guterson, Asia Hamilton, Donna Jackson, Sydney James, Ralph Jones, Desiree Kelly, Charles Miller, Carole Morisseau, Sabrina Nelson, Yvette Rock, Phillip Simpson, Mandisa Smith, Rachel E. Thomas, Charlene Uresy, Carl Wilson, Cara Marie Young

Souls of Black Folk: Bearing Our Truths – On Display at the Scarab Club until March 20, 2021

ALSO ONLINE: https://www.soulsofblackfolk.com/