Wednesday, July 8, 2020

“Where We At” Black Women Artists' Collective. “Weusi” Artist Collective KAY BROWN (1932 - 2012)



 

“Where We At” Black Women Artists' Collective.
“Weusi” Artist Collective
KAY BROWN (1932 - 2012)

During the run of COVID-19, Joel Elgin’s Athraigh Printmaking Studio would like to offer you an opportunity to gain some knowledge of both printmaking/art and the various methods and reasons artists react to the issues around us.

African – American artist’s groups and collectives have traditionally created the support needed to build a strong unified voice. The collective voice from sixty years back is not only the structure for the contemporary art produced today but also impacts the street art that is so important in the raising of awareness in the current nation/worldwide protests.

Artist Kay Brown was a member of two important groups: Where We At and Weusi.

“…Kay Brown (1932-2012) was an African American artist and one of the founders of the Where We At Black women artists’ collective in New York City. She was also a member of the Weusi Artist Collective, based in Harlem during the 1960s and 1970s…”

Weusi Artist Collective
“…A Swahili word meaning blackness, “Weusi” is also the name of a distinguished collective of artists established in Harlem during the 1960’s...”

Where We At Black Women Artists' Collective
“ … 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…”

 The Devil and His Game
 collage of various papers and mixed media on canvas, 1970



The Kick of Life
color etching and aquatint. 1974



Black Mother and Male Child
etching and aquatint on cream wove paper. 1974–1975



Meditation
etching, aquatint



Willowbrook
etching, aquatint



More on Kay Brown:



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Wednesday, July 1, 2020

Betye Saar: The Liberation of Aunt Jemima




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 small exhibit of artwork created by brilliant, contemporary printmaker/sculptor, Betye Saar.




The Liberation of Aunt Jemima
Wood, Mixed-media assemblage, 11.75 x 8 x 2.75 in. 1972.

“…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…”




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…”


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.” 





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:

















Please check out the main Athraigh Print Studio Website:



YouTube Version:
https://www.youtube.com/watch?v=Xj1gmBacF94


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Friday, June 26, 2020

Guerrilla Murals: “The Wall of Respect”



Fifty three years before artists covered buildings with murals to make the world aware of the murder of George Floyd, members of the Organization of Black American Culture (OBAC), created and painted the Wall of Respect on The corner of 43rd Street and Langley Avenue on Chicago’s South Side. 



Artists Xena Goldman, Greta McLain, and Cadex Herrera painted this mural on the 38th street wall of Cup Foods, Minneapolis, Minnesota.



Denver artists Thomas "Detour" Evans (left) and Hiero Veiga work on a mural of George Floyd on the side of Ready Temporary Services, 1915 E Colfax Ave.
Leigh Paterson / KUNC

“…The Wall of Respect is regarded as the first collective street mural in the United States…”





(Photo credit Roy Lewis)





“Wall of Respect,” a 20-by-60-foot mural painted on a tavern, honored more than 50 African-American heroes, including Ray Charles, W.E.B. Du Bois, Dick Gregory, Charlie Parker, Bill Russell, Nina Simone and Malcolm X. (Robert Abbott Sengstacke/Getty)

The Wall was a collaborative effort of OBAC’s three workshops—Visual Arts, Writer’s, and Community.

“OBAC was a multi-disciplinary collective of artistic, community and intellectual practitioners active within the US civil rights movement…”



Poet and publisher Haki Madhubuti, a member of the OBAC writers’ workshop:

“…The mural's painters and photographers were members of the visual artists workshop of Organization of Black American Culture (OBAC), an acronym that means "chieftain" in the West African language of Yoruba…”

Further,

“…Madhubuti notes that the "Wall of Respect" was an outgrowth of the Black Arts Movement, a cultural expression of the Black Power Movement...”

"It was a guerrilla mural," said artist Jeff Donaldson in a 2003 interview shortly before his death. Donaldson, one of the 21 artists and photographers who created the mural without the permission of the building's owner, added: "It was a clarion call, a statement of the existence of a people."

“…over the next eight years, more than 1,500 murals were painted in virtually every black neighborhood in the nation, according to art historian Michael D. Harris.


For further details regarding “The Wall of Respect”:




 Please check out the YouTube version:


Thanks for reading!

Saturday, June 20, 2020

Juneteenth, prints created by African American printmakers in honor of Harriet Tubman.





In recognition of the importance of Juneteenth, Athraigh Print Studio presents a small exhibit of prints created by African American printmakers in honor of Harriet Tubman:

Harriet Tubman, American, 1822 - 1913
albumen and silver on photographic paper on card mount
Collection of the National Museum of African American History and Culture shared with the Library of Congress




Margaret Taylor Burroughs
Harriet Tubman, 2001
Lithograph




Margaret Taylor Burroughs
Harriet Tubman, 1953
Lithograph




Charles White
Exodus I: Black Moses (Harriet Tubman), 1951
Linocut on paper



Elizabeth Catlett
In Harriet Tubman I Helped Hundreds to Freedom
1946, printed 1989
Linocut





Elizabeth Catlett
Harriet, 1975
linocut



Elizabeth Catlett
Untitled (Harriet Tubman), 1953
Linocut



 Please check out the YouTube version:



For more on the printmakers, please go to:





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Monday, June 15, 2020

African American Protest Art of the Sixties SPIRAL: Emma Amos Joel Elgin, Athraigh Studio.




Printmaking in the time of COVID-19.
Small Exhibitions: SPIRAL: Emma Amos


In August of 1963, The March on Washington was held to advocate for the civil rights of African Americans. Martin Luther King Jr delivered his "I Have a Dream" speech, calling for an end to racism.

The art collective, The Spiral Group formed as a result of the march.

“…Spiral was a New York–based collective of African-American artists that came together in the 1960s to discuss their relationship to the civil rights movement and the shifting landscape of American art, culture and politics…”

An artist in the group who I particularly admire is Emma Amos.

Emma Amos (1937 – 2020) was invited in 1963, by her professor,  “…Hale Woodruff to become a member of Spiral, a group of black artists that included Romare Bearden, Norman Lewis, and Charles Alston. She was the group’s youngest and only female member…”

Prints and paintings by Emma Amos are in the collections of the Museum of Modern Art, the Studio Museum of Harlem, the Whitney Museum of American Art, and the Brooklyn Museum. Emma Amos died on May 21 at her home in Bedford, N.H. She was 83. In 2021, a retrospective of the artist’s work will open in her home state, at the Georgia Museum of Art in Athens.



Stars and Stripes,
monotype with George Shivery photo transfer, 1995



About Whiteness (Red)
oil and laser transfer on paper. 1995



Measuring, Measuring
Acrylic on linen canvas, Kente fragment, batiked hand swatches, African strip woven borders, and laser-transfer photographs, 1995.




Mississippi Wagon, 1937,
print, 1992



My Mothers, My Sisters,
lithograph, handmade paper collage, African fabric border, 1992



Contemporary African American artists continue the work of Spiral:

Black Art In America
SPIRAL NOW 55 Years Later: New Artists, Familiar Struggle

SPIRAL NOW 55 Years Later: New Artists, Familiar Struggle


More on Spiral and Emma Amos:




Please check out the Youtube version:




 
If you wish to view higher res images of this or any of the past videos please visit the Athraigh Print Studio main page or it’s related blogs:






Barbara Jones-Hogu African American Protest Art of the Sixties, Seventies. AfriCOBRA






Joel Elgin, Athraigh Studio.

Printmaking in the time of COVID-19. Small Exhibitions: 
Barbara Jones-Hogu
(1938 – 2017) 

African American Protest Art of the Sixties, Seventies

African Commune of Bad Relevant Artists (AfriCOBRA).




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.



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…”




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…”




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…”



Unite (AfriCOBRA)
Color screenprint on ivory wove paper    1971



Rise and Take Control
Color screenprint on ivory wove paper    1970


 Please check out the Youtube version:



 
For further information on Barbara Jones-Hogu and AfriCOBRA:




If you wish to view higher res images of this or any of the past videos please visit the Athraigh Print Studio main page or it’s related blogs: