Monday, October 19, 2020

Navajo Nation Printmaking. Joel Elgin Athraigh Studio.



David Paladin,  (b. 1926, d. 1984)

“Mythmaker Stomping out Artist’s Sense of Reality”, 1975

 

The act of ignoring artwork produced by races, cultures or groups is not simply arrogance or a mistake. It is too often an attempt to deny or even eradicate.

The current heated U.S. political climate is an ideal time to continue the exploration of the artwork produced by people who are currently being targeted.

In the U.S., nearly 212,000 people have died from COVID - 19. Our government officials want us to only see numbers but behind each number was/is a person. In the U.S. people of color are at greater risk than others. Among the most vulnerable are Native Americans.

 

The Navajo Nation (the "Dineh" or "the People") people are located in the in the Southwest Cultural Region incorporating the lower parts of Utah and Colorado, all of Arizona and New Mexico, and the northern deserts of Mexico.

 

As early as 9500 BC. the first known inhabitants of the Southwest Region hunted mammoth and other game.

 

In 1864, "Kit" Carson and the United States federal government enacted a plan of ethnic cleansing and forced the relocation of the Navajo from their ancestral homelands to Fort Summer, a 40-square-mile reservation in eastern New Mexico. Years later the U.S.-Navajo Treaty of 1868 allowed the Navajo to return to only a small portion of their original homeland. 

 

We might not all have known of the forced “Long Walk of the Navajo” but we are all very familiar with traditional Navajo rugs:

 


 

Navajo, 19th Century

c. 1885-1890

tapestry weave: wool, handspun and Germantown.

 

Today, the Navajo have suffered at least 10,500 cases of COVID – 19 and 560 known deaths. The essential protocols and lockdowns issued by President of the Navajo Nation, Jonathan Nez have done much to keep the virus in check. Unfortunately, the current administration has done very little to assist the Navajo.

 

The Navajo Nation, the largest of all U.S. Indian reservations, covers 27,413 sq. miles yet has only twelve Health Service facilities to serve over 350,000 citizens.  The facilities had only 28 ventilators until finally receiving 50 from the U.S. (United States sent 200 ventilators to Russia as part of a $5.6 million humanitarian aid package, and it sent 50 ventilators to the Navajo Nation. https://www.usatoday.com/story/news/factcheck/2020/06/27/fact-check-us-sent-ventilators-navajo-despite-claims-otherwise/3265337001/

https://www.abc15.com/news/state/vital-resources-being-distributed-to-the-navajo-nation)

 

The Federal government may have changed its tactics since Kit Carson scorched the Navajo earth but they certainly do not appear supportive of the Navajo.  By breaking treaty promises and ignoring the many issues initially created by the forced march the government has established an ideal landing place for COVID – 19.

 

About thirty percent of people do not have electricity. Poisoning of the water supply by US uranium mines has contributed to over thirty-six percent of the reservation residents lack of access to running water.

 

The reservation is a food desert, with only 13 grocery stores, which means some people travel up to 150 miles to shop.

 

More than a third of the people live without paved roads, cell phone service, landlines or safe housing.

 

Multiple Navajo generations often live together, this is cultural but it’s also due to chronic housing shortages, federal restrictions on construction, high unemployment and poverty on the reservation.

 

After weeks of waiting President of the Navajo Nation Jonathan Nez  had to take the federal government to court to receive the money promised through The Cares Act.

 

We might not all have been familiar with the conditions on the Navajo reservation that have risen from the US federal governments long history of neglect and we might not all be familiar with recent efforts to destroy the lives of the Navajo, such as Trump’s “Curtis Bill” resolution which nullifies and shrinks  former President Barack Obama’s December 2016 proclamation establishing Bears Ears as a 1.35 million-acre national monument in San Juan County, Utah. by 85 percent.

 

Athraigh Studio would like to help make you familiar with the art created by the people of the Navajo Nation, the "Dineh" or "the People" by presenting a small exhibition of  current Navajo printmakers:

 

 


Melanie Yazzie

“He Died Before Coming Home” 1994

monotype

https://wheelwright.org/exhibitions/memory-weaving/

 

 

 


David Paladin,  (b. 1926, d. 1984)

“Mythmaker Stomping out Artist’s Sense of Reality”, 1975

Litho

 

https://davidpaladin.com/

 

 


David Paladin,  (b. 1926, d. 1984)

“Life, Dreaming Itself Into Being” 1975

Litho

https://davidpaladin.com/

 

 


Michael McCabe

Mono with Chin Cole’

https://mccabeprints.com/

 

 

For further information regarding COVID – 19 and the Navajo Nation:

 

https://navajotimes.com/coronavirus-updates/covid-19-across-the-navajo-nation/

 

https://www.americanprogress.org/issues/race/news/2020/04/14/483125/economic-fallout-coronavirus-people-color/


Dindga McCannon. Joel Elgin Athraigh Printmaking Studio

 

Dindga McCannon. Joel Elgin Athraigh Printmaking Studio

 

Dindga McCannon was born in Harlem and studied at the Art Students League, working with mentor Jacob Lawrence.

 

“As a 1960s member of Weusi, Dindga became interested in the Black Arts movement. In the 1970s, she was part of the first group show of professional black women artists in New York City. Dindga has been an artist for 55 years. In addition to her work as a quilter author, and illustrator, Dindga considers herself a costume designer and muralist and a print maker.”

http://www.shadesofnoir.org.uk/creatives/portfolio/dindga-mccannon/

 

 

“ … In early 1971, Kay Brown, Dindga McCannon, and Faith Ringgold gathered a group of black women at McCannon’s Brooklyn home to discuss their common frustrations in trying to build their careers as artists… Out of this initial gathering came one of the first exhibitions of professional black women artists: “Where We At”—Black Women Artists, 1971. Adopting the show’s title as its name, the collective began meeting at members’ homes and studios, building support systems for making their work while assisting each other with childcare and other domestic labor. Where We At recognized the power of collectivity—empowering black women by creating a network to help them attain their professional goals as artists…”

https://www.albrightknox.org/blog/exhibition-spotlight-dindga-mccannon-and-%E2%80%9Cwhere-we-%E2%80%9D-black-women-artists-we-wanted-revolution

 



Dindga McCannon

Morning After, 1973.

Color linocut, block

 


Dindga McCannon

Revolutionary Sister, 1971.

Mixed media construction on wood,

 

 


Dindga McCannon

Georgette. 1972

color linoleum cut                  

 


 

Dindga McCannon

Afrodesia & Mira Gandy, 1971

Woodcut & screenprint

 


 

Dindga McCannon

Shackles, Slaves, and Prods, 1972

Woodcut

 

https://dindgamccannon.world/


https://bombmagazine.org/articles/dindga-mccannon-by-philip-glahn/

 

https://advantagesofage.com/live/culture/dindga-mccannon-american-artist-feminist-age-aint-used/

  

Joel Elgin Instagram:

https://www.instagram.com/joel.elgin.athraighprintstudio/


https://www.instagram.com/joel_elgin_art_history/

 

Twitter:

https://twitter.com/athraigh


Thursday, October 1, 2020

Betye Saar: The Liberation of Aunt Jemima. Joel Elgin

 

Betye Saar:  The Liberation of Aunt Jemima

African American printmakers/artists have created artwork in response to the insulting image of Aunt Jemima for well over fifty years.

To offer some insight into the long battle with racially offensive images, Athraigh Print Studio offers a few words and a small exhibit of artwork created by brilliant, contemporary printmaker/sculptor, Betye Saar.

https://www.joelelginathraighprintstudio.com/joel-elgin-athraigh-studio-blog/betye-saar-the-liberation-of-aunt-jemima

 

 

 

“…In 1972, the Rainbow Sign Cultural Center in Berkeley put out an open invitation for an exhibition of works depicting black heroes. Saar, who decided that she wanted a heroine, produced The Liberation of Aunt Jemima,  … Aunt Jemima was Saar’s response to the rage and helplessness she experienced after the 1968 assassination of Martin Luther King, Jr. The work also responded to the politics of civil rights and black nationalism. Aunt Jemima was the symbol of black nurturing and black servitude. She was the caregiver for the master’s children, as well as her own. She was also the go between for the house and the field. In Saar’s hands, Aunt Jemima, with her broom and her rifle, is transformed into a freedom fighter…”

https://sculpturemagazine.art/ritual-politics-and-transformation-betye-saar/

 

In an interview, Betye Saar stated:

 

“…When Martin Luther King was assassinated, I reacted by creating a woman who’s my warrior: Aunt Jemima. Aunt Jemima is a derogatory image of black women … So I created a piece called The Liberation of Aunt Jemima. I gave her a rifle. It wasn’t that I was advocating violence through weapons, but I thought if you saw a weapon—if you saw a gun—you would know that she meant business. I used the image of the gun to imply that kind of violence, but her true violence was her spirit—that she wanted to overcome, that she wanted to move on from where her position was…”

http://womenatthecenter.nyhistory.org/women-work-washboards-betye-saar-in-her-own-words/

 

At the same time, Saar created Liberation of Aunt Jemima: Cocktail. Consisting of a wine bottle with a scarf coming out of its neck, labeled with a hand-produced image of Aunt Jemima and the word “Aunty” on one side and the black power fist on the other, this Molotov cocktail demands political change, insisting that full racial and gender equality must be achieved, to borrow the words of slain civil rights leader Malcolm X, “by any means necessary.” 

https://sculpturemagazine.art/ritual-politics-and-transformation-betye-saar/

 

 

 


 

The Liberation of Aunt Jemima

Wood, Mixed-media assemblage, 11.75 x 8 x 2.75 in. 1972.

 

 


 

Liberation of Aunt Jemima: Cocktail

Mixed-media assemblage, 12 x 18 in. 1973. 

 



Liberation (washboard)
Mixed media assemblage, 19 x 8.5 x 2.5 in. 2014

 

For more on the Betye Saar, please go to:

 

https://www.artsy.net/article/artsy-editorial-betye-saar-transformed-aunt-jemima-symbol-black-power

 

https://sculpturemagazine.art/ritual-politics-and-transformation-betye-saar/

 

http://womenatthecenter.nyhistory.org/women-work-washboards-betye-saar-in-her-own-words/

 

http://www.betyesaar.net/index.html

 

 

Joel Elgin Instagram:

 

https://www.instagram.com/joel.elgin.athraighprintstudio/

https://www.instagram.com/joel_elgin_art_history/

 

Twitter:

https://twitter.com/athraigh

Monday, September 28, 2020

Dr. Samella Lewis. Joel Elgin Athraigh Printmaking Studio

 

 

SAMELLA LEWIS, born in New Orleans in 1924 is rightfully considered one of the most influential artists/art historians in the United States.

“… As a young artist, she was drawn to subjects as diverse as police brutality against African Americans, comic books, and characters from her older sister's romance novels…”

https://hammer.ucla.edu/now-dig-this/artists/samella-lewis

She “…became the first African American to receive doctorates in Fine Art and Art History.  Dr. Lewis attended Dillard University, Hampton Institute, and Ohio State University. She taught as a full-time professor at Morgan State University, Florida A&M, State University New York Plattsburgh, California State Dominguez, California State Long Beach, and Scripps College…”

https://www.blackartinamerica.com/index.php/2019/03/11/dr-samella-lewis-the-godmother-of-african-american-art/

Dr. Lewis  “…was an active member of the National Association for the Advancement of Colored People, making her a target of government officials who accused her of being a Communist and members of the Ku Klux Klan who shot out windows of her home. Undaunted, she founded a chapter of the NAACP in Plattsburgh.”

https://www.louissternfinearts.com/samella-lewis-bio                                              

Lewis has changed the landscape of Art History and has become an influential and highly respected voice that has also mentored and bolstered the careers of many African American artists. She is the recipient of a myriad of awards and distinctions and has exhibited in many important galleries and museums.

http://www.stellajonesgallery.com/samella-lewis

 
I See You

Linocut.  2005

 



Migrants

Linocut. 1968

 “I fight against segregation, discrimination, racism, brutality and depravity because these things deny people their rights as human beings.” -- Samella Lewis. (Credit: Daily Bulletin)




House of Shango

Lithograph. 1992

The title of this piece is an unmistakable harkening to African roots. Shango is a religious practice with origins in Yoruba (Nigerian) belief, deifying a god of thunder by the same name…”

https://rcwg.scrippscollege.edu/blog/2016/10/02/highlights-of-the-collection-samella-lewis-house-of-shango/

 


First Phase

hand-colored lithograph. 2005

 

Please visit the Athraigh Print Studio at:

Instagram:

https://www.instagram.com/joel.elgin.athraighprintstudio/

 

https://www.instagram.com/joel_elgin_art_history/

 

Twitter:

https://twitter.com/athraigh

More on Samella Lewis:

https://www.blackartinamerica.com/index.php/2019/03/11/dr-samella-lewis-the-godmother-of-african-american-art/

https://www.louissternfinearts.com/samella-lewis-bio

http://rcwg.scrippscollege.edu/blog/2008/07/09/samella-lewis/

http://www.stellajonesgallery.com/samella-lewis

https://hearnefineart.com/artists/53-samella-lewis/biography/


Wednesday, September 23, 2020

Hughie Lee-Smith

 

 

 

Hughie Lee-Smith

 

Lee-Smith was born in Eustis, Florida in 1915. Before working with the WPA, he ran track with Jessie Owens and earning a deree from Wayne State, he  began to learn printmaking at the Karamu House in Cleveland. Karamu is Kiswahili for "a place of joyful gathering". Karamu is the oldest, producing African American theatre in the nation but has also historically been a home for printmakers, dancers, actors, and writers.

 

Lee-Smith died in 1999. His prints are in the collections of the Metropolitan Museum of Art, the Smithsonian and the Detroit Institute of Art.

 

As a printmaker, Hughie Lee-Smith is best known for his series, “The Artist's Life" which dictates, his early life in Cleveland during the Great Depression. Check out the subtle description of his life: a policeman beating a worker, closed factories, etc..

 

Lee-Smith was a strong drawer and highly experimental printmaker. We could easily spend this time detailing his range as a printmaker,  but today lets focus on his portraits and mono prints.

 

 

 

 

The Artist's Life No.1, 1939

Lithograph

 

 


 

Untitled (Woman's Head) , 1985

Pencil on paper

 

 


 

Untitled (Head of a Woman), 1970

Monotype

 

 

 


 

Untitled (Head of a Woman), 1970

Monotype

 

 


 

Head of a woman with curly hair , 1969

Monotype

 

 

 


 Untitled (Face and figure study) , 1969

 Monotype

 

Please check out the YouTube Version:


 

 

Monday, September 21, 2020

“Jacob Lawrence: The Life of Toussaint L’Ouverture”. Joel Elgin Athraigh Studio

 


Today's post features the printmaker Jacob Lawrence's series of silk screens depicting Toussaint L’Ouverture, the mastermind behind the Haitian Revolution.

 

 

Jacob Lawrence (1917-2000), is more well known than many of the other printmakers recently featured by Athraigh Studios. We might know his prints in general but let’s take a specific look at his brilliant series, the “Toussaint L'Ouverture.”

 

Content first: Jacob Lawrence is depicting Toussaint L’Ouverture the mastermind behind the Haitian Revolution. In the last years of the 1700’s Toussaint L’Ouverture won independence from Europe, defeated Napoleon’s army, and brought Haiti out of slavery. In 1804, after the people who were then referred to as “slaves” won their freedom by force, Haiti became the first black republic in the West.

 

Form: In 1936, at the age of 21, Jacob Lawrence created 41 paintings of the life of L’Ouverture. In 1986, Lawrence produced 15 silk screens inspired by the original paintings.

 

I’ve included only 3 images from the series for today’s presentation but I encourage you two go to the following link to see the entire series, including a description written by Lawrence of each print.

 

https://www.davidsongalleries.com/artists/modern/jacob-lawrence/toussaint-louverture/

 

 

 


Strategy

Silk screen on Rising two ply rag paper, 1994

Deception

 

 

 

 


General Toussaint L'Ouverture

Silk screen on Bainbridge two ply rag paper, 1986

 

 

 


 

To Preserve Their Freedom

Silk screen on Bainbridge two ply rag paper, 1988

 

Please check out the video of the exhibition:

 





Wednesday, September 16, 2020

Barbara Jones-Hogu and AfriCOBRA. Joel Elgin Athraigh Studio

 

 

In 1968, printmaker Barbara Jones-Hogu was a founding member of the Chicago group, African Commune of Bad Relevant Artists (AfriCOBRA). The artists of AfriCOBRA made visual, the central ideas of the Black Power movement—self-determination, unity, and black pride.  They agreed to embrace a style that emphasized strong bold colors, flat shape, rhythm, and text to highlight the heroic and beautiful qualities of black lives in America.

 

https://americanart.si.edu/education/oh-freedom/barbara-jones-hogu

 

 

The prints created by Barbara Jones-Hogu, stand as brilliant works of art and at the same time reveal a glimpse into America’s history of embedded racism and the importance of protest.



Land Where My Father Died

Color screenprint on gold-colored Japanese-style laid paper. 1968,

 

“…I feel that racism and fascism played a great deal in my father being successful or not successful in his life, so some of these prints’ ideas and content deal with the fact that we and he were not really free to do whatever we and he really wanted to do and could do due to radical oppression and suppression…”

https://never-the-same.org/interviews/barbara-jones-hogu/

 

 


Nation Time

Color screenprint on gold-colored paper, 1970,

 

“…In Nation Time, a dominant figure leads a black ensemble to rise up against the American flag background. Closer looking reveals that the American flag’s stars are Ku Klux Klan members. In this way, the composition acknowledges how racism is deeply embedded in America, while also inspiring hope of overcoming that truth…”

https://blantonmuseum.org/2020/03/womens-history-month-2020-5womenartists-from-the-blanton-collection/

 

 

 


Be Your Brother's Keeper

Color screenprint, 1971

“…The guns and the lights on them and various actions against and between the military and the protesters caused me to think that we should be our brothers’ keeper…”

https://never-the-same.org/interviews/barbara-jones-hogu/

 

 


Unite (AfriCOBRA)

Color screenprint on ivory wove paper    1971

 

 YouTube Version:


For further information on Barbara Jones-Hogu and AfriCOBRA:

 

https://never-the-same.org/interviews/barbara-jones-hogu/

 

https://www.blackartinamerica.com/index.php/2017/11/16/barbara-jones-hogu-one-of-americas-greatest-artists-has-passed/

 

 

 

Joel Elgin Art Sites:

 

https://www.joelelginathraighprintstudio.com/

Instagram:

https://www.instagram.com/joel.elgin.athraighprintstudio/

Twitter:

https://twitter.com/athraigh