Posts Tagged 'Black History Month'

Black History Month

“Seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.” —President Gerald Ford, on the official recognition of Black History Month in 1976

February 1 marks the beginning of Black History Month, an annual celebration of achievements by African Americans and a season for reflecting on their major role in our nation’s history.  Numerous works by important African American artists are on view in the Museum’s free collection galleries.

We invite you to take time this month to celebrate and honor these individuals and so many others:

Jack Whitten, Slip Zone, 1971, acrylic on canvas, The Rachofsky Collection and the Dallas Museum of Art through the TWO x TWO for AIDS and Art Fund, 2010.26.1, © Jack Whitten

Jack Whitten was beloved by all who met him and admired far and wide for his innovative techniques. He created Slip Zone during a pivotal period of experimentation. In this work, he abandoned handmade gesture and brushstroke; instead, paint and canvas were “processed” through a technique using large paint-filled troughs through which he dragged the canvas, with sticks, rakes, and Afro-combs used to create surface texture.

While in college, Whitten participated in Civil Rights protests in the South until increasing violence led him north. While his artwork was celestial, it also expressed a distinctly Afrocentric narrative inspired by the Civil Rights movement and jazz. In 2016 he was awarded a National Medal of Arts by President Barack Obama.

Melvin Edwards, Machete for Gregory, 1974, welded steel, barbed wire, and chain, Dallas Museum of Art, TWO x TWO for AIDS and Art Fund, 2015.17, © Melvin Edwards

Melvin Edwards, a native Texan, was born in Houston in 1937. He is regarded as  a pioneer in the history of contemporary African American art and sculpture. In 1970 he became the first African American sculptor to have works presented in a solo exhibition at the Whitney Museum of American Art in New York City. He was awarded a National Endowment for the Visual Arts Fellow­ship in 1971 and a John Simon Guggenheim Memorial Foundation award in 1975.

Renee Stout, Fetish #2, 1988, mixed media (plaster body cast), Dallas Museum of Art, Metropolitan Life Foundation Purchase Grant, 1989.27, © Renee Stout, Washington, D.C.

Renee Stout uses her art to explore her African American heritage. She finds inspiration through the African diaspora and her life experiences, and creates works that encourage self-empowerment and healing, harnessing the belief systems of African peoples and their descendants. Among her many accolades are The Louis Comfort Tiffany Foundation Award, The Pollock Krasner Foundation Award, and the Mayor’s Art Award (Washington, DC).

Kermit Oliver, Autoritratto, 1993, acrylic on paper, Dallas Museum of Art, The Barrett Collection, Dallas, Texas, 2007.53.34, © Kermit Oliver

Kermit Oliver, who was a US Postal Service mail sorter by night and a painter by day, was named the Texas State Artist for 2017. Oliver designed 17 highly prized scarves for the French fashion house Hermes. The humble artist now resides in Waco, Texas, while his works are exhibited in places like the new National Museum of African American History and Culture in Washington, DC.

 

Julie Henley is the Communication and Marketing Coordinator at the DMA.

 

A Deeper Look: John Thomas Biggers

As the McDermott Intern for Gallery and Community Teaching at the DMA, every Friday morning I am lucky enough to lead Go van Gogh® outreach programs in elementary school classrooms across Dallas. Each lesson is rooted in the DMA’s collection, and one of the works of art that I have grown particularly fond of teaching is a painting called Starry Crown by John Biggers.

John Thomas Biggers, Starry Crown, 1987, acrylic and mixed media on masonite, Dallas Museum of Art, Museum League Purchase Fund 1989.13, Art © Estate of John Biggers / Licensed by VAGA, New York, NY.

John Thomas Biggers, Starry Crown, 1987, acrylic and mixed media on Masonite, Dallas Museum of Art, Museum League Purchase Fund, 1989.13, Art © Estate of John Biggers/Licensed by VAGA, New York, NY

The patterns of Starry Crown reflect images and symbols from African life and culture. The string held within the mouth of the three women represents the spoken word that passes tradition, knowledge, and history from one generation to another.

It is Biggers’ own history—his story—that, to me, makes this painting all the more significant.

John Biggers’ story begins in Gastonia, North Carolina, in 1924. Growing up as a black child during a racially segregated time in the southern United States deeply influenced his perspective of the world. According to Olive J. Theisen’s A Life on Paper: The Drawings and Lithographs of John Thomas Biggers (2006), individuals with darker skin tones were allowed to enter art museums only one day of the week. Although there were talented and skilled black artists at the time, recognition, and thus financial success, was often denied to artists of color.

When Biggers entered college at Hampton Institute (now Hampton University) in 1941, he registered with the intention of learning a more practical trade, like plumbing; however, Biggers’ intentions dramatically changed within his first year when an art course taught by Viktor Lowenfeld empowered him to take ownership of the culture and creativity of his own heritage through the arts.

Image via Hampton University Archives

Image via Hampton University Archives

With Lowenfeld’s encouragement, in 1946 Biggers left Hampton Institute as a dedicated artist with a clear mission: to tell the honest story of the black American through art—to make the once invisible known and respected.

Flash forward to 1952: Biggers submits one of his finest drawings, Sleeping Boy, to the fifth Southwestern Exhibition of Prints and Drawings, sponsored by the Dallas Museum of Fine Arts, the precursor to the DMA.

Biggers describes how Sleeping Boy came to be:

Sleeping Boy was drawn in the doctor’s office on a scrap of paper. I had carried my mama to the doctor’s office, was waiting there, saw a little child asleep on a chair, sketched him on a scrap of paper. When we got home, I immediately transferred the sketch to a large sheet.

(from A Life on Paper: The Drawings and Lithographs of John Thomas Biggers, by Olive Jensen Theisen)

John Thomas Biggers, Sleeping Boy, 1950, conte crayon, Dallas Museum of Art, Neiman-Marcus Company Prize for Drawing, Fifth Southwestern Exhibition of Prints and Drawings, 1952 1952.1

John Thomas Biggers, Sleeping Boy, 1950, conte crayon, Dallas Museum of Art, Neiman-Marcus Company Prize for Drawing, Fifth Southwestern Exhibition of Prints and Drawings, 1952, 1952.1

Biggers did in fact win the Neiman-Marcus Prize for drawing and was invited to the Dallas Museum of Fine Arts for the awards presentation; however, as noted by former DMA staff member curator Philip Collins, once the committee discovered that Biggers was black, his prize was handed to him without ceremony at the Museum’s door. This was Biggers’ first experience with the Museum. Thirty-seven years after this incident, his painting, Starry Crown, was shown as part of the Black Art, Ancestral Legacy exhibition in 1989. During the opening, Biggers not only received red carpet treatment, but he also gave a talk—a talk that was prefaced with his very first experience at the DMA.

The knowledge of Biggers’ history with the DMA makes presenting Starry Crown to students that much more meaningful to me. By teaching this work of art with the artist’s story in mind, I encourage tolerance and acceptance for individuals of all backgrounds within the students in Dallas.

To learn more about John Biggers and his work:

  • A Life on Paper: The Drawings and Lithographs of John Thomas Biggers (2006) by Olive Jensen Theisen
  • Ananse: The Web of Life in Africa (1996) by John Thomas Biggers
  • Black Art in Houston: The Texas Southern University Experience (1978) by John Thomas Biggers, Carroll Simms, and John Edwards Weems
  • John Biggers: My America (2004) by Michael Rosenfield
  • Black Art-Ancestral Legacy: The African Impulse in African-American Art (1989), Editors: Robert V. Rozelle, Alvia Wardlaw, and Maureen A. McKenna
  • DMA mobile resources: Link

Angela Medrano is the McDermott Intern for Gallery and Community Teaching at the DMA.


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