Archive for the ‘African American Art’ Category

Top 9 Artful Motown Album Covers

Friday, June 25th, 2010

Forgive me, y’all, but I didn’t Remember The Time of year it was. June is Black Music Month. And what is more quintessentially “Black Music” than the offerings of the legendary Motown record label?

Now I don’t mean to wax nostalgic. But, with apologies to the compact disc (CD), there’s nothing like the look, the feel, and the smell of an old-time LP (Long Play) record. Moreover, holding the cardboard packaging that contains the LP, in anticipation of playing the album, is a Thriller unto itself.

This blog entry features a list of Motown LP covers, and LP covers of Motown subsidiary labels (Tamla Records and Gordy Records), with art-based themes. And by “art-based” I mean to Say Say Say having no (or very little) photographic elements. Just about all aspects of these album covers were hand-created by fine artists from scratch (allowing for visual special-effect applications over the years).

Since the late 80s saw the LP being largely replaced (by the CD) as the album-release format to Enjoy Yourself musically, all of the albums on this list will be ones released prior to 1988. Coincidentally (or maybe as a consequence of the LP phaseout), the “classic” Motown period is defined, by the labels very website, as the period from 1959 – the company’s year of inception – until 1988.

Although my intent is to mention the most aesthetically pleasing covers in Motown’s history, there are two things I’d like the reader to keep in mind. One, I have to admit, I included 2 or 3 of the albums for their audio content (your Mom always said it’s what’s on the inside that counts). And secondly, while I will try to include the best of the best in graphics, Another Part Of Me will try to represent for as many of the legendary Motown acts as possible.

And I know that you’re asking, “Why 9, per se?” Because 8, contrary to popular opinion, is not enough, and 10 is cliched… :)

Here are the albums, along with their years of release:

Stevie Wonder's Songs in the Key of Life#9: Songs in the Key of Life, 1976. The art is not necessarily stellar, but it ain’t half Bad. The reason the cover is memorable is because the album is so memorable: the production is one of the most critically-acclaimed and universally-loved albums not only in Stevie Wonder’s career, but in Motown’s history.

The Commodores logo#8: Any art cover featuring the embellished Commodores logo. Take your pick of albums: Commodores (self-titled, 1977), Natural High (1978), or Midnight Magic (1979). The logo (see photo) is an iconic one, and long after the LP sporting it has stopped Jamming, it’s still branded on the brain.

Rick James' Garden of Love#7: Garden of Love, 1980. Let’s face it, it was in Rick James Human Nature to indulge and revel in carnal excess. So to see him depicted trying to survive in some floral utopia with (or should I say, “despite?”) a bevy of babes, is wholly believable. For any other singer, you’d think this art cover was based on some outlandish, surreal fantasy strictly out of the artist’s imagination.

Not for James.

Marvin Gaye's Super Hits#6: Super Hits, 1970. Look, up in the sky. Is it a bird? Is it a plane?

No. It’s Marvin Gaye, the most soulful singer who ever lived, with rescued honey in tow. And he’s brought a compilation album of great hits and searing ballads to save the day and Heal The World.

Marvin Gaye's Here My Dear#5: Here, My Dear, 1978. Another Marvin Gaye art cover… The entire double-album, as you can see, has the feel of ancient Greece, complete with architecture and a toga-ed Gaye. Looking at the LP, I don’t know whether to hit the dance floor or erect a statue to a mythological god…

Needless to say, the cover is a little Off the Wall, and it’s certainly not for everyone. But this blogger likes it.

Diana Ross' 20 Golden Greats#4: 20 Golden Greats, 1979. You know I had to rep for her; I just couldn’t do her Dirty. Diana Ross, “the most successful female music artist in history” (according to the Guinness Book of World Records), has to be somewhere on this list.

This is another one of those covers that gets on this list on the merit of music content. The artistic theme/concept is not that remarkable (it’s basically all about Ross’ pretty face). But any of the recordings in Ms Ross’ solo Motown career that ever amounted to anything is on this album. For that kind of audio repertoire, her fans will learn to love this cover’s art.

Jackson 5's Dancing Machine#3: Dancing Machine, 1974. In just about any Motown list, you know the Jackson 5 has also Got To Be There. And this is the only album in the group’s discography that I could find that fit the theme of this article. So here you have cover art featuring the label’s chart-busting sibling quintet, with some serious ‘fros intact.

Marvin Gaye & Tammi Terrell's Easy#2: Easy, 1969. Marvin Gaye and Tammi Terrell: the most compatible duo to come along in African-American music since Rhythm met Blues. See their easy-going, care-free demeanor, captured in art-form for all of posterity. Listen to those easy-flowing, amorous lyrics on their album. It’s like these two were born to be together, born to make beautiful music together. Both of them, Gone Too Soon.

It’s easy to get sentimental about Gaye and Terrell.

Marvin Gaye's I Want You#1: I Want You, 1976. Far and away my favorite album cover but not for the reason you would think (or maybe it is). In contrast to his other album covers on this list, singer Marvin Gaye is not depicted anywhere here. What is prominently shown is a painting by the great African-American visual artist Ernie Barnes, artwork featured (as many of you may know) at the end of many episodes of the classic 70s sitcom Good Times. The piece is a part of American television lore, something audiences saw week in and week out. For my money, you can’t Beat It.

In conclusion, Motown has a history of noteworthy album covers that are just not artistic in nature (and thus they are beyond the scope of this blog). Several recording artists did not seem to have any art covers (the Temptations and the Miracles come to mind) , while others had more than their normal share (I found it Dangerous trying to select between five or six Marvin Gaye joints, while 3 or 4 Stevie Wonder LPs deserved consideration).

So if you are a fan of the “The Motown Sound,” You Are Not Alone. What’s your opinion about your favorite classic Motown offerings (albums and records)? I’d like to hear from you…

(Continue to rest in peace, MJ. I hope you appreciate how hard it was to work in some of your song titles. ;) )

Afro-American Father’s Art, Creating for Everyone Today (A. F.A.C.E.T.) in the Community

Thursday, June 17th, 2010

When I blogged about motherhood in African American art, I mentioned two select negro artists (Sylvia Walker and Charles Bibbs) who valued maternity. In honor of Father’s Day, let’s, this time, spotlight one artist who really seems to get the notion of Pops…

Cbabi Bayoc is a product of St. Louis, Missouri, and there is more to his moniker than first meets the eye. His forename is shorthand for “Creative Black Artist Battling Ignorance,” while his surname is an acronym for “Blessed African Youth Of Creativity.” In terms of relevance to this blog topic, Bayoc himself is a dad to three kids (which, as you will see, is why he has such insight into fatherly love). So if you visit his personal artistic website, you will see many works devoted to the theme of fatherhood.

Cbabi Bayoc, along with his wife, also manage a confectionery store in the STL. There you the customer can satisfy both your sweet tooth and your love of fine black art at the same time. The duo have a bakeshop and studio website to represent their shop, so you can get a sense of what their establishment is all about.

In perusing both of his online sites, I noticed that Bayoc’s “pop” art exhibits certain recurring themes, and several of his pieces seem to cover more than one theme each. Now, I can’t link directly to any single art piece due to the flash nature of his domains. (Which is a small quibble I have with the sites: the extensive use of the flash app, again, makes it harder for web surfers to reference specific items; and, also, relevant graphic aspects of both sites might get buried in search engine results.) But I will try to point out each particular item by stating either its specific category and its sequence number under the “artwork” link at cbabibayoc.com, or just its sequence number in the paintings subcategory under the “sweet/art pics” link at the SweetArt site. (I hope that’s clear to you all, cause I done confused my damn self.)

Or, when possible, I’ll simply send you somewhere you can purchase a print of the item…

Back to those recurring themes, with named (in most cases) examples:

  • The concept of Father just being there when you need him – In Daddy’s Care; first steps, paintings, 9th in series; Daddy’s Love (negroartist.com is a prime source for…ummm…negro artists).
  • Paternal physical contact – sold artwork, 4th; sold artwork, 10th; safety net, paintings, 7th (As you can see, this piece contains elements in the Daddy’s Care piece)
  • Papa uplifting his kids (literally as well as figuratively) – available paintings, 4th; Daddy’s Shoulder.

I suspect that a lot of these Afro-American visual treats not classified as “sold” can be had for a price by visiting Bayoc and wife’s brick-and-mortar store on S. 39th Street. But if you can’t pay them a visit, and you got it like that financially-speaking, there’s no need to fret. Drop him a line at his artistic website (cbabibayoc.com) – by hitting the “CONTACT” link – and he can come out to your neck of the woods and whip you up a print. Something really personal and really good. Maybe something for your dad.

Even better…

The Mother of All Black Art Holiday Gifts

Monday, May 3rd, 2010

I’d like to point out several works by a couple of African-American artists who really value Mom – works any ethnic art connoisseur in your life (including yourself) would appreciate as presents.

The first three pieces are the creations of Sylvia Walker. They are all a part of her Mother Love series of lithographs (midway down on the destination page). In each of these works, a black mother and a child share an unconditional love that could only exist between the two. Comparatively-speaking, each print is a veritable bargain at $35. (All of the prices stated in this blog entry are effective as of this post date.)

Check out the rest of her site. There you will see that themes of family, and not just motherhood, run rampant throughout her gallery.

“But,” you say to yourself, “I have over several hundred dollars just burning a hole in my pocket. What am I supposed to do with all of it?”

I’m glad you asked…

Charles Bibbs is another black artist who seems to resonate with the concept of motherliness. On his website, he offers many upscale giclee edition art prints related to the topic. Among these prints are:

  • 1. dual versions of his ethnic tribute to Gaea which will run you approximately $400 each (click “Next” to view the alternate White version);
  • 2. the appropriately-titled Motherhood, a production featuring a black woman cradling a child, which retails for a little over $400; and last but certainly not the least (in cost, anyway)
  • 3. a piece, also called Mother Love (ala the entries in Walker’s series), which depicts a negro maternal figure holding a bouquet of flowers, in the $1100 – $1200 range. Now this is what I call the ultimate in a non-jewelry gift. “Momma said knock you out” with this price tag…

Are the aforementioned items a little on the expensive side? Probably. But for the person you choose to purchase them for (again, one’s self included), they are keepsakes and valuable additions to any respectable Afro-art collection.

A collection any Mom would be proud of…

A Passion for the Christ Art

Sunday, March 28th, 2010

To say that Jesus Christ has been the subject of several works of art in the almost two millennia since his death would be a huge understatement. The holidays and observances – Palm Sunday, holy week, Good Friday, Easter – of this post-Lenten time of year in the Christian calendar have especially been marked.

Many contemporary black artists (including one man in particular) and purveyors of black paintings have thrown their hat into the ring of art commemorating the events of the Passion: i.e. the sequence of events that led up to, those that occurred during, and those which immediately followed the death of Christ. Let’s look at those black art print versions, regarding these events, that are available for public consumption.

For each poster where the name of the artist of the original artwork is not available or not readily apparent (for example, his/her signature is illegible), I will try to declare such.

The Last Supper - BeaujourThe Last Supper - BarnesIn the eyes of many biblical historians, the Last Supper was the symbolic beginning of the end of Christ’s sojourn on Earth. All of the gospel books of the New Testament allude to the event. Pictured above are two distinct versions of that event, as seen by two different black painters. The one on the left is by the prolific Haitian artist Alix Beaujour , while the one on the right is the work of Cornell Barnes. Notice how Barnes’ version includes famous historical African-American figures like Martin Luther King, Frederick Douglass, Malcolm X, etc. I suspect that Beaujour’s work might also include renowned black men, but I cannot confirm that suspicion. (If someone recognizes a familiar face in Beaujour’s work, I would appreciate it if you could point it out in the Comments section of this blog entry. Thank you.)

If you clicked on the “Last Supper” link above, you will see that we at the day after carry a rendition of that noteworthy feast. Our art print features a very skillful remake of the original piece by Leonardo Da Vinci, and is a superior work in its own right (which is why we stock it).

Garden of GethsemaneOn the other hand, there are those theologians that believe that the Savior’s ultimate physical demise started in the Garden of Gethsemane (as a matter of fact, the controversial Mel Gibson movie, The Passion of the Christ, begins at this point in the gospels), whose events transpired immediately after the Last Supper. In the piece to the left by Diane Viera, Jesus prays earnestly as his disciples slumber peacefully in the background.

black-jesus-boundJesus WeptThe Giclee print to the far left represents the bound Jesus, a condition he endured from the time he was arrested all through his trial and sentencing. Meanwhile, the print on the right references the crown of thorns that was placed on the flogged Christ figure while he was on trial (as told in three of the four gospels).

Forgive Them Father - BeaujourTrue Passion - Johnny MyersDecent From the Cross - BeaujourBlack Jesus CrucifixionHere we have an array of paintings depicting Christ’s crucifixion. The top left print is by Beaujour. As you can see, it recalls that verse in the book of Luke wherein Jesus asks God (to paraphrase) not to punish his persecutors because they were unaware of the extent of their actions. In True Passion (right, top), by Johnny Myers, we see the clouds of darkness that rolled in during the sixth hour of the day of Christ’s death.

Monsieur Beaujour is also responsible for the bottom left work in the quartet, wherein a soldier pierces the side of a now deceased Christ. And the last picture (bottom right) in the sequence is a final look at a crucified Christ on the cross after being pierced.

Descent From The Cross - AshkarDecent From the cross 2 - beaujourWeep Not For He Will ReturnBlack ResurrectionThese next set of prints depict, in order, the sequence of events that took place in preparation for Jesus’ burial: from the removal of his body from the cross (top pics), to the lamenting over his lifeless body (bottom left print), to the conveyance of his mortal coil to its temporary resting place by Joseph of Arimathea (last poster). In this final picture, you can plainly see the spirit of Christ has left his body. Two of the four prints are by Beaujour…

The Living CrossThe art montage here shows scenes from Jesus Christ’s earthly ministry. But as far as this blog entry is concerned, I’d like to point out the depiction of his resurrection to the right, as a consequence of his crucifixion (pictured center). Vincent Barzoni stays consistent with his illustration of both Christ’s slain body and his risen form from his Black Resurrection painting above.

Doubting ThomasTo the left is a visual recounting of the tale of Doubting Thomas: that disciple of Christ that did not believe that the resurrected figure of his master was indeed standing before him. That is, until he himself had touched the holes in the Christ’s hands and placed his fingers in the Christ’s pierced side.

Actually, on the aforementioned Alix Beaujour page at negroartist.com (a site I can’t stop raving about ever since I first started discussing African-American art), you can view his graphic interpretation of the Doubting Thomas story.

As you can see and as you would expect, religion is a profound motivator when it comes to art. Great artists like Beaujour, inspired by Scripture, will always create great faith-based art (just as inspired composers will create great music) as long as humankind is alive.

For, as it has been said, Art without Passion is meaningless…

How to Arrange Your Black History Stamps

Saturday, January 30th, 2010

After reviewing my last entry on the history of Haiti and Haitian stamps, I thought of ways you might, if you’re into stamp collecting, want to arrange your valuable stash. Since it’s Black History Month, I thought I’d use the artful Black Heritage Series of stamps to offer a few suggestions towards that end. (Besides, I was thinking of taking up the hobby myself, and I needed a starting point.) But , of course, you can always use my suggested methods for any collection that contain items with both a common theme and a human focus.

As you can see from the display at ESPER (the Ebony Society of Philatelic Events and Reflections), one stamp of this series has been issued every year since 1978. Therefore, as of today, the set contains 32 postage pieces. (In June 2010, Oscar Micheaux the filmmaker will be the 33rd person to be honored in this array by the United States Post Office.)

The simplest way to obtain all of the current stamps of the series (since many of them are hard to come by), as well as stamps depicting other notable African Americans plus a collection binder for storage, is to shop at the Black Heritage Commemorative Society. (Caveat emptor – I personally have not purchased from this organization, so I make no claims as to the validity of their offers. If you do buy from them, you do so at your own risk.)

There are two things you should keep in mind before we look into arrangements (the purpose of this article). First of all, you can either treat the following sorting options like a restaurant menu wherein you select an item from a “Column A” and one from a “Column B”, or you can look at the suggested classifications as a buffet and take items liberally from both sections.

Secondly, several of these suggestions are made with tongue firmly planted in cheek. The point of this exercise is mostly to have fun and enjoy the action, which is what the act of collecting and displaying should be about. And wouldn’t it be nice to throw a viewer of your album collection for a loop as they try to decipher what organization system you employed? (Okay, maybe it’s just me…)

How to Group Your Black History Stamps (”Column A”)

You can broadly sort your Black Heritage stamps in one or several of the following ways:

Grouping I: by vocation. They who are depicted in this series come from all walks of negro life. I thought I’d take a stab at this grouping (and this one only), just to get my feet wet as a stockpiler. The particulars of the rest of the groupings I will leave to your own ingenuity.

LEADERS & ACTIVISTS Harriet Tubman, Martin Luther King, Jr., Whitney Moore Young, Sojourner Truth, A. Philip Randolph, Ida B. Wells, W.E.B. DuBois, Malcom X, Roy Wilkins
SCIENTISTS & INVENTORS Benjamin Banneker, Jan E. Matzeliger, Percy Lavon Julian, Ernest E. Just
ATHLETES Jackie Robinson
ENTERTAINERS (Actors, Singers, Musicians) Scott Joplin, Paul Robeson, Marian Anderson, Hattie McDaniel, Ella Fitzgerald
TEACHERS & EDUCATORS Mary McLeod Bethune, Anna Julia Cooper
ENTREPRENEURS & PIONEERS Jean Baptiste Pointe Du Sable, Bessie Coleman, Madam C.J. Walker
PROFESSIONALS Dr. Allison Davis
SCHOLARS & AUTHORS Carter G. Woodson, James Weldon Johnson, Charles W. Chesnutt
PUBLIC SERVANTS Benjamin O. Davis, Sr., Patricia Roberts Harris, Thurgood Marshall
LITERARY & VISUAL ARTISTS Langston Hughes

Grouping II: geographically. You can file these historical figures, according to their birthplace, into North, South, Midwest, and West categories or some variation thereof. If you adopt this grouping, you can arrange lineups even further by state and/or city. More on that later…

Grouping III: by artist. Jerry Pinkney, Thomas Blackshear, Higgins Bond, Chris Calle, Richard Sheaff, Henri Cartier-Bresson, Albert Slark, Tim O’Brien, Paul Davis, Kazuhiko Sano, and Kadir Nelson have all created graphics for the items in this philatelic project. (Pictured below are a few of the more prolific designers.) Each illustrator name can be a heading unto itself.

Grouping IV: by scholastic achievement. Here are some classes (pun intended) for the boojie-in-spirit: College Graduate, No Formal Schooling, and Academic Dropout. Something you might want to contemplate is how to categorize people who were “self-educated” or “self-taught.”

You’ll notice – it’s impossible to miss when reading the respective biographies of these notables – that there has been many an historical black person who can fall into more than one category, especially when you group figures by trade. For example, G. W. Carver was both a renowned botanist (and thus a member of the scientist category) and he taught others (as an educator). Also, J. W. Johnson started out as a principal (an educator), but went on to become an author as well as a musician.

But these slight incongruities are all part of the organization process. To reiterate, trying to pigeonhole the names on a list to fit into specific categories, and coming up with more inclusive or (alternatively) more exclusive categories are both just plain fun.

How to Order Your Black History Stamps (”Column B”)

Here are several ways to arrange the Black Heritage postage in a given assembly, or in your entire set as a whole. You can arrange the pieces by:

  • Date of Issue, chronologically by year of stamp release. This is probably the default manner to arrange your collection. (But for more unconventional methods, read on…) The stamps are displayed in this way at ESPER.
  • Name, alphabetically by subject (African-American figure) surname. This method, of course, may also be one of the more natural ways to do things. Or if you feel that comfortable with these prominent black personages, place their seals by forename.
  • Year of Birth, chronologically by subject date of nascence. Alternatively, you can begin with the man or woman born most recently and end with he/she that was born earliest in time.
  • Longevity, numerically by subject lifespan. This list can be in either ascending or descending order.
  • Height, numerically by subject vertical stature. Only try this if you’re especially enterprising, and believe you are the greatest researcher who ever lived. Again, archive in order of either increasing value or decreasing value.
  • Year of Death, chronologically by subject date of demise. Feeling particularly morbid? This one’s for you – store from the earliest moment one of these Afro American stalwarts passed away to the latest moment, or vice versa.
  • Place of Birth, alphabetically by subject hometown. You can tackle this one of two ways (at least) – the first method is to group by state, then alphabetize by city name within each state grouping. On the other hand, you can just order all 32 stamps by subject city, regardless of state considerations.

These are just a few grouping and listing ideas to get you started. If you play around with concepts and themes and also look closely at the lives of these Black Heritage honorees, you might be able to come up with other conforming standards. (As a matter of fact, when I thought long and hard enough, I came up with a system that might be a little too grim for this relatively lighthearted topic. If anyone asks me for the details of this system under the Comments section, I’ll be more than happy to share it with you…)

If you do read extensively about all of these great men and women, yet no organization ideas come to mind, at least you would’ve learned a history lesson or two. And I ask you, “What’s wrong with that?” :)

For more stamp collecting tips and resources, visit Learn About Stamps.

Jerry Pinkney

Jerry Pinkney

Thomas Blackshear

Thomas Blackshear

Higgins Bond

Higgins Bond

Richard Sheaff

Richard Sheaff

Collectible Art Posters Fit for a (Martin Luther) King

Tuesday, January 12th, 2010

Have you ever seen a rendering of a historical figure in a photo, picture, or portrait and wondered (even if ever so slightly) in what year or at what point in his/her life the  depiction was captured? Or viewed a piece of artwork (for example, a painting) of that person and thought to yourself, “What actual image or event was this piece based on?”

During this Martin Luther King Jr. day holiday, in keeping with the theme of this blog, I thought it would be nice to take a moment to look at some (what I think is) memorable poster art that reflect both key moments and important aspects in the life and times of the late civil rights leader. Because as the saying goes, “A picture is worth a thousand words.” And a picture with an historical  perspective might be worth even more (I’ll try to be brief and not come close to a thousand words).

I’ll take these art prints based on the chronological order of the events to which the prints allude.

Montgomery, Alabama’s Martin Luther King

time-mlk-montgomery-alabama

The art on this Time magazine cover is by Boris Chaliapin and shows a relatively younger, fresh-faced Reverend King (and I use the expression ‘relatively younger’ in consideration of the fact that, by many counts, he was still rather young even at the time of his death at the age of 39). There’s someone preaching in a pulpit on the right of the cover, someone who bears little resemblance to King, and might be there just to reinforce to the uninformed audience exactly what his vocation was. Of particular interest is the bus-pedestrian-fare tableau in the lower left corner. This is in reference to the year-long Montgomery Bus Boycott of 1955 (two years prior to the  date of this Time issue) he helped organize, which ultimately led to the repeal of certain transit Jim Crow laws.

Note how the cover assigns his city of residence (Montgomery)  to his name this early in his career. With the events that were to transpire for the rest of his career, Martin Luther King Jr. would soon become a household name, and the magazine  would not (as you will later see) feel the need to qualify his name on the subsequent covers featuring his likeness.

Martin Luther King, Man of the Year

time-mlk-man-of-year

This magazine jacket features a tempera done by Robert Vickrey. It depicts Dr. King casting a long shadow. Since this issue was in early 1964, the annual accolade was bestowed by Time, of course, for the previous year (1963). A year marked by beatings, death, civil unrest, and just general all-around disquiet in the fight for racial equality, a fight spearheaded by Reverend King. A year that saw a March on Washington and a speech – “I Have a Dream” – for the ages. There, within the shadows of both the Washington Monument and the Lincoln Memorial was King casting a truly long historical shadow of his own.

Martin Luther King Jr Civil Rights

mlk-civil-rights

As I’ve mentioned in the past, when we at the day after see a product that features a person or people we admire and/or an idea that we espouse to (as with black artists and with black art, respectively), we do not hesitate to go out and stock that product.

That being said, one of this blogger’s favorite posters (which is why we carry it in our store) is the aptly-titled Martin Luther King Jr Civil Rights Art Print. The year of 1964 transcribed on the print was indeed the year the Civil Rights Act was signed, and the depiction on the right featuring Dr. King and his wife Coretta Scott King is based on a photo that was taken in that year. (Unfortunately, I can’t put a definitive time stamp on the photo the picture on the left is based on.)

But this print does even more than signify, finally, the passing of legislation promoting equal liberties for black and for white. It shows Dr. King just as comfortable holding court with the press as he is out with a loved one. The duality of his existence as both an outspoken public figure and a faithful family man (which he was) is marvelously captured here by artist Stephanie Marrott. She even throws in excerpts from the “I Have a Dream” speech as a symbolic gesture of what he stood for.

Martin Luther King, Master Speaker

time-mlk-black-white

The cover portrait here by Ben Shahn is in simple black and white, and seems to simply do what it’s meant to do: capture him as the powerful orator that he was. Even as this Time issue was being published in March of 1965, Dr Martin Luther King, the Southern Christian Leadership Conference (an organization he helped found), and many protesters were organizing a march that was to start in Selma and end in Montgomery. After two failed attempts early in the month, the march was finally realized on March 25, where, at the State Capitol Building, he gave another inspirational public address – his “How Long, Not Long” speech.

You could say that the magazine cover that came out earlier in the month was prophetic as far as the later “How Long” speech was concerned. But that would be like predicting that a winged eagle would eventually rise and soar away…

Martin Luther King and Malcolm X, One Vision

mlk-malcolmx-one-vision

Perhaps the most profound and most insightful of King posters (as far as the point-of-view of the artist is concerned, anyway) is the print of Bernard Stanley Hoyes that depicts Malcolm X and the reverend sharing an eye. Rightfully so, the art piece is called “One Vision,” and was created in 1970 after both men had already been assassinated (both at the age of 39). Hoyes, in his own words, wanted to highlight the similarities between King’s and Malcolm’s perspectives on racial equality and how to attain such, despite the public’s posthumous praising of the former and simultaneous denouncement of the latter.

To re-iterate, the purpose of this article was to celebrate the life of Martin Luther King, Jr through picture art. To relive his moments in photographic detail, visit this extensive King gallery.  You can purchase any of the Time magazine cover wall posters by going to that publication’s website and following an appropriate link.

(OK, I think I might have exceeded a thousand words. But, in my defense, I was talking about more than I picture…:))

Lois Mailou Jones: An Artist, and a Life, of Color

Friday, December 25th, 2009

As I stated in a previous post about African-American masters, I love me some North Carolina artists…

The Mint Museum of Art in Charlotte, NC is currently holding an exhibit for the renowned black artist and painter Lois Mailou Jones. The exhibit is entitled (appropriately enough) Lois Mailou Jones: A Life in Vibrant Color and runs until just about the end of next February (2010).

Technically, the late Ms Jones was not native to this state – she was born and grew up in Boston, MA. However, she did establish the arts department at the (now defunct) Palmer Memorial Institute near Greensboro.

If you read my previous article, you’ll know that I also will not pass up a chance to stock and to promote the products of any famous artist who has done this state proud. Our store’s Les Fetiches poster (”Les Fetiches,” in French, meaning spiritual/religious items or charms believed to possess special powers) is based on Lois Mailou Jones’ oil painting of the same name. That original work was created by her in 1938, and now resides in the Smithsonian American Art Museum (as you can see from the poster’s image).

For a bigger, better, and badder representation of Ms Jones’ Les Fetiches painting, as well as her other artwork, go to negro artist .(I really can’t recommend this site enough for lovers of African American art.) Since approximately 70 of her pieces will be exhibited at the Mint Museum, most, if not all, of the pictures at this website will likely be on display in Charlotte.

To hearken back to my past entry on black artists one more time, Lois Mailou Jones is coincidentally one of the feature artists being profiled in the Art of the Masters exhibit – which will be running concurrently in North Carolina (in Fayetteville) along with her aforementioned solo exhibit. And, as with Romare Bearden, if you’re worthy enough to be in the Masters exhibit, you’ve got to be in the (beware another Tarheel-based product shout, and a shameless plug) African American Masters Wall Calendar. In the additional image on that product page, see if you can spot the painting that is hers…

Lois Mailou Jones, 1905 - 1998

Lois Mailou Jones, 1905 - 1998

African American Masters of Art

Wednesday, December 9th, 2009

For those of you who appreciate African-American art in particular (and American fine art in general), there is an exhibit currently touring the country called the Art of the Masters: A Survey of African-American Images, 1980-2000.

The traveling exhibit, brought to you by the National Conference of Artists (see picture below), started in the city of New York and will now make its way to Fayetteville, NC. For those of you who’d like to attend the exhibit, it will be at the Arts Council of Fayetteville/Cumberland County from January 22 until March 3, 2010. The Friends of African and African-American Art program deserve credit for funding the North Carolina leg of this tour. (Visit the FAAA program page to learn more about it and to join.)

National Conference of Artists logo

National Conference of Artists logo

This blogger is based in the Tarheel State, and, personally, it’s nice to see that the NCA chose a city in this state as its only stop in the southeast. Speaking with a certain bias, I think that decision is only fair, since many acclaimed Afro-American artists have hailed from this state – artists that include John Biggers, Ernie Davis, and Romare Bearden.

As a matter of fact, we at the day after have a special appreciation for the latter black artist, who is one of the masters whose works are featured in the exhibit. That is why we stock the 2010 Romare Bearden Wall Calendar which depict several of his prized pieces (the names of which you can read in the calendar’s product description). One of his paintings is also included in the appropriately-titled 2010 African American Masters Wall Calendar. Naturally, we think these calendars are keep-sakes for any connoisseur of fine black art. To see even bigger and better renditions of his works , head on over to the Romare Bearden page at negroartist.com.

Fred Romare Harry Bearden

Fred Romare Harry Bearden, 1911-1988

Keeping it in North Carolina (Did I mention that I was a state resident with an affinity for local ethnic artists? :) ), I’d also like to bring up  the native-born Biggers, another feature artist in the Art of the Masters exhibit. He is one of twelve black painters and collagists whose masterpieces appear in the 2010 African American Art Wall Calendar. You can read off the names of the other artists represented in the calendar. To say that those other artists (which, as you can see, includes someone by the name of Romare Bearden) are/were “half-way decent” would be an understatement…

Dr. John Biggers, 1924 - 2001

Dr. John Biggers, 1924 - 2001

If you’re yearning to see some of John Biggers’ best African-American paintings in somewhat-limited glory (because no web browser can do any of them justice), I once again advise you to visit negroartist.com.