JOHN TORRES LARGE PAINTING AFRICAN AMERICAN ARTIST FRAMED 30.4" x 41.25" inches

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Seller: collectiblecollectiblecollectible ✉️ (1,138) 0%, Location: Ann Arbor, Michigan, US, Ships to: US, Item: 333028029993 JOHN TORRES LARGE PAINTING AFRICAN AMERICAN ARTIST FRAMED 30.4" x 41.25" inches. A painting by African American Artist  John Torres, Jr. (Bronx, NY, 1939-Mechanicsville, VA, 2001)  measures approximately 30.4" x 41.25" inches acrylic and oil on canvas. Obtained from John Torres directly. Artist's Statement I am primarily a sculptor in stone. Everything I do is designed to assist me in doing stone in large (10-30 ton) format. Trained in both direct and indirect carving I can pull images from "found" shapes at the quarry or follow models with precision enlarging and carving. My studio in Pietrasanta, Italy gives me access to the best marbles and support services in the world. My studio in Richmond gives me a place to finish work roughed out in Italy and access to the U.S. market. Thirty years of education and survival has taught me that a sculptor has to be able to handle opposites, (figures-abstract, monumental-intimate, personal-public, color-monochrome, etc.). I came to the arts with a love of nature and it has grown from the female figure, through sea forms to crystals, with some periods having all of these form projects going on at the same time. At my best I can hear the stones speak and I try to stay with those voices. I am most alive when covered with stone dust. When you review this 30 year record you notice the serious commitment to children and education. For me art is basic. I wouldn't let you take my child's art away any more than I would let you remove her computer. She needs and is using both. I believe each student has the right to have their multiple intelligences stimulated every day. I believe that the arts can provide stressed communities with options and access and that the arts are the ultimate tool for educational reform. The whole village needs all of the arts now at a level that is totally committed to excellence. John Torres was an artist of many skills. He was a painter, and his works on paper are included in many private, corporate and institutional collections.  But it is as a sculptor that he will be best remembered. So it was somehow appropriate that when he died May 30, at age 62, it was during a trip to a marble quarry in Vermont. Torres was a sculptor in the classical tradition. Like Michelangelo whose evocative marble Old Testament prophets haunt the Academia in Florence, and in whose work it is difficult to determine the point at which the raw, hard stone gives way to a depiction of human flesh, Torres was fascinated by the human form. In Torres' work, that human form was usually feminine. "He liked the ladies," one of his many friends said last week with a wink. "There is a lot of homage to the female form in his work — born of the sea or water," says Jack Blanton, a Richmond art aficionado whose own collection contains a number of Torres pieces carved from cream, pale gray or white blocks of marble.  "Viewing his sculpture is like seeing ruins from Mesopotamia," Blanton adds. "Salvaged classical ruins — that was a reference point. He always let the stone speak to him to determine what he would carve from it." Torres' work was always strong of line and assured. "He was an accomplished artist and a tenacious artist," Blanton says. "That's the word: tenacious." If some people thought Torres to be reserved or shy personally, others found him outgoing. "He could give the best parties," says an admirer. "He thought big when he did something, including entertaining: Music was always there." And while he could cook, he'd leave the cleanup to others. "I don't do windows nor dishes," he'd remind his guests. All who knew him would agree that Torres was elegant, maybe even exotic, with his dark good looks and a black patch over his left eye. But if the medium of marble spoke to Torres, it was the true artist in him that spoke to hundreds of students and others he touched. With his passionate convictions, he was a teacher who inspired and chided hundreds of Virginians to develop their inherent talents. He led by example, unflinchingly serious and focused on his own art, but with a true interest in what others had to say. He really listened and heard people. Torres worked on multiple projects and was generous with his time. Recently, he was beginning the planning phase of collaborative piece working with art students at the Governor's School for Government & International Studies: The goal was a permanent installation sculptural piece at the renovated Maggie L. Walker school building where the regional governor's high school will move in the fall. But wherever Torres worked, or whatever the age of the student, he never failed to inspire.  One popular Richmond artist last week, who asks not to be identified, recalls that 20 years ago, when she was in her 60s, Torres challenged her: "Where there is talent, there is responsibility." Inspired by his encouragement, she cleared the decks of other things that monopolized her time and started painting regularly. "He affected my life," this artist says. "He changed my life."  Torres, John, Jr. (Bronx, NY, 1939-Mechanicsville, VA, 2001)     Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Arlington (VA). Arlington County Court House. JOHN TORRES. 1989. Solo exhibition. Buckingham County (VA). Buckingham Arts Center. JOHN TORRES: Painting and Sculpture. 1989. Solo exhibition. Mt. Pleasant. (IA) Iowa Wesleyan College. Visiting Artist JOHN TORRES. 1972. Solo exhibition. Mt. San Angelo, Sweet Briar (VA). Virginia Center for the Creative Arts. JOHN TORRES: Tenth Anniversary Celebration. 1981. Solo exhibition. Nairobi (Kenya). Gallery Waded. TORRES American Carver. 1976. Solo exhibition. New York (NY). Fitzgerald Cooperative Gallery. JOHN TORRES Sculpture. 1962. Solo exhibition. New York (NY). Unitarian Church of All Saints. JOHN TORRES Sculpture. 1963. Solo exhibition. Providence (RI). Rhode Island School of Design. TORRES at Gerry Mansion. 1972. Solo exhibition. Richmond (VA). Amber Gallery. JOHN TORRES: Transitions. 1985. Solo exhibition. Richmond (VA). Black History Museum and Cultural Center of Virginia. JOHN TORRES. 1996. Solo exhibition. Tolucca (Mexico. Cawa el la. JOHN TORRES: Negro Americano. 1972. Solo exhibition. Waynesboro (VA). Shenandoah Valley Art Center. JOHN TORRES: Art of Stone. 1990. Solo exhibition. Wilmington (NC). University of North Carolina at Wilmington. JOHN TORRES Retrospective. 1991. Solo exhibition. GENERAL BOOKS AND GROUP EXHIBITIONS: ALBUQUERQUE (NM). Albuquerque Museum of Art and History. Art of Black New Mexico. 1976. Group exhibition. Included: John Torres, Jr. ASHLAND (VA). McGraw-PAGE Library, Randolph-Macon College. Intimate Eye. 1990. Group exhibition. Included: John Torres, Jr. FAX, ELTON. Seventeen Black Artists. New York: Dodd, Mead & Company, 1971. xiv, 306 pp., 44 b&w illus., index. Includes Elizabeth Catlett, John Wilson, Lois Mailou Jones, Charles White, Eldzier Cortor, Rex Goreleigh, Charlotte Amevor, Romare Bearden, Jacob Lawrence, Roy DeCarava, Faith Ringgold, Earl Hooks, James E. Lewis, Benny Andrews, Norma Morgan, John Biggers and John Torres. Small 4to (8.4 x 5 in.), yellow cloth, d.j.. HAMPTON (VA). Hampton University. The International Review of African American Art Vol. 14, no. 1 (1996). 1996. This issue includes: David Driskell: Memoir of A Painter cum Scholar by Leslie King-Hammond; Jacob Lawrence: Recent Work by Jacci Thompson-Dodd; Fresh Paint: National Scene by Leatha Simmons Mitchell; John Henry Adams and the Image of the "New Negro" by Wayne Martin Mellinger. VISUAL ART & JAZZ SECTION: Where More Than Beauty Traces Logic: The Common Ground by Lloyd McNeill; Jazz Gallery; Kansas City in Swingtime and Now by Juliette Harris; Jazz and African American Artists of the 1960s by Floyd Coleman; Tribute to Thurlow Tibbs by Harriet O. Kelley; news and reviews by Vanessa Thaxton, Murry N. DePillars, Andrea Barnwell and Michelle Y. Washington. Artwork by: David Driskell, Jacob Lawrence, Bernard Williams, Paul Deo, Floyd Tunson, Nina Squires, James Kerry Marshall, Jonathan Knight, Joann Jones, Earl Jackson, Clendolyn Corbin, Eugene Grigsby, Jr., John Henry Adams, Lloyd McNeill, Charles Mills, John Torres, Charles E. Humes, Jr. (presumably Charles E Haines), Barbara Tyson Mosley, Romare Bearden, Sam Gilliam, Bonnye Brown, Joseph L. Smith, Floyd Coleman, Kwabena Ampofo-Anti, Raymond Saunders, Lyle Ashton Harris; photography by Reuben Burrell, Allene Mahogany and Sharon Beachum. 4to, wraps. Ivoryton (CT). ART Gallery Magazine. The ART Gallery Magazine: Afro-American issue (Vol. 11, no. 7, April 1968). 1968. Special Afro-American issue. Approx. 100 pp., b&w and color illus. Includes: Alonzo J. Aden, Charles Alston, Emma Amos, Eric Anderson, Benny Andrews, William E. Artis, Edward M. Bannister, Richmond Barthé, Romare Bearden, Sheman Beck, Ed Bereal, John T. Biggers, Betty Blayton, Sylvester Britton, Calvin Burnett, Margaret Burroughs, William S. Carter, Bernie Casey, Elizabeth Catlett, Barbara Chase-Riboud, Edward Christmas, Claude Clark, Eldzier Cortor, Ernest Crichlow, Allan Rohan Crite, Emilio Cruz, Mary Reed Daniel, Charles C. Dawson, Beauford Delaney, Joseph Delaney, Avel DeKnight, Richard Dempsey, Jeff Donaldson, Aaron Douglas, David C. Driskell, Robert S. Duncanson, Eugene Eda, William Edmondson, Melvin Edwards, John Farrar, Frederick C. Flemister, Meta Warrick Fuller, Reginald Gammon, Sam Gilliam, Robert Glover, Russell T. Gordon, Bernard Goss, Phillip Hampton, Marvin Harden, Romaine Harris, Eugene Hawkins, Palmer Hayden, Wilbur Haynie, Reginald Helm, James Herring, Leon Hicks, Vivian Hieber (?), Felrath Hines, Alvin Hollingsworth, Humbert Howard, Richard Hunt, A.B. Jackson, Hiram E. Jackson, Daniel LaRue Johnson, Joshua Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Frederic Jones (presumably Frederick D. Jones, Jr.), Lois Mailou Jones, Robert Edmond Jones, Jack Jordan, Sr., Louis Joseph Jordan, Ronald Joseph (as Joseph Ronald), Paul Keene, Joseph Kersey, Herman King, Sidney Kumalo, Jacob Lawrence, Clarence Lawson, Clifford Lee, Hughie Lee-Smith, James Edward Lewis, Jr., Edmonia Lewis, Norman Lewis, Tom Lloyd, Alvin Loving, William Majors, Howard Mallory, Jr., David Mann, Richard Mayhew, Anna McCullough, Geraldine McCullough, Charles W. McGee, Lloyd McNeill, Jr., Earl Miller, Norma Morgan, Jimmie Mosely, Archibald J. Motley, Jr., Texeira Nash, Frank W. Neal, George E. Neal, Hayward L. Oubre, Jr., James D. Parks, Marion Perkins, Robert S. Pious, Horace Pippin, James A. Porter, Judson Powell, Ramon Price, Nancy Elizabeth Prophet, Noah Purifoy, Mavis Pusey, Robert D. Reid, John W. Rhoden, Haywood "Bill" Rivers, Henry C. Rollins, Mahler Ryder, Betye Saar, Raymond Saunders, William E. Scott, Charles Sebree, Jewel Simon, Merton D. Simpson, Van Slater, Carroll Sockwell, John Stevens, Henry Ossawa Tanner, Ralph M. Tate, Lawrence Taylor, John Torres, Jr., Alfred J. Tyler, Ruth G. Waddy, William Walker, Eugene Warburg, Howard N. Watson, James Lesesne Wells, Charles White, Jack H. White, Jack Whitten, Garrett Whyte, Sam William, Douglas R. Williams, Jose Williams, Todd Williams, Walter H. Williams, Stan Williamson, Ed Wilson, Ellis Wilson, John W. Wilson, Roger Wilson, Hale A. Woodruff, James E. Woods, Roosevelt (Rip) Woods, Charles Yates, Hartwell Yeargans, et al. 8vo (24 cm.; 9 x 6 in.), wraps. MCCABE, JANE A. Fine Arts and the Black American / Music and the Black American. Bloomington: Indiana University Libraries, 1969. 33 pp. Useful older bibliographic reference. 4to, stapled wraps, mimeograph. MIDDLETON (VA). Lord Fairfax Community College. Blue Ridge Radiations. 1990. Group exhibition. Included: John Torres, Jr. MILANO (Italy). U.S. Embassy. Americans. 1976. Group exhibition. Included: John Torres, Jr. MOSS, MARK RICHARD. Praised Hereafter: these contemporary sculptors and their work. 1998. In: The International Rreview of African American Art, Vol. 15, no. 2 (1998):18-23. Feature article on African American sculptors John Outterbridge Syd Carpenter, and John Torres, Jr. 4to, wraps. MYERS, CAROL L., compiled and ed. Black Power in the Arts. Flint (MI): Flint Board of Education, 1970. ix, 105 pp., illus. 8vo (21 cm.), wraps. NEW YORK (NY). Ligoa Duncan Arts Center. [Hector Hill memorial exhibition]. 1963. Memorial exhibition by numerous artists to benefit the family of Hector Hill. Included: Sam Middleton, Virginia Cox, Walter Davis, Leon Pierre, Philip Martin, Yonia Fain, Ellis Sweeting, Van Eliot, Edgar Fitt, John Torres, Bob Hamilton. ["New York Beat," Jet Magazine, November 14, 1963:63.] NEW YORK (NY). Whitney Museum of American Art. Contemporary Black Artists in America. April 6-May 16, 1971. 64 pp. exhib. catalogue of 84 works by 58 artists. 48 illus., 6 in color, excellent bibliog. by Libby W. Seaberg. Text by Robert Doty. Includes: Ralph Arnold, Edward A. Ausby, Roland Ayers, Frank Bowling, James Brantley, Marvin Brown, Walter Cade III, Catti, John E. Chandler, Barbara Chase-Riboud, Walter Davis, Avel DeKinight, Murry N. DePillars, David Driskell, Frederick J. Eversley, Ernest Frazier, Russell T. Gordon, William H. Henderson, Barkley Hendricks, Alvin Hollingsworth, Manuel Hughes, Nathaniel Hunter, Jr., Lester L. Johnson, Jr., B. Nathaniel Knight, Jacob Lawrence, James Lee, Hughie Lee-Smith, Tom Lloyd, Alvin Loving, Phillip L. Mason, Charles W. McGee, Lloyd G. McNeill, Algernon Miller, Norma Morgan, Howardena Pindell, Stephanie Pogue, Noah Purifoy, Mavis Pusey, Robert Reid, John Rhoden, Henry Rollins, Joseph B. Ross, Jr., Mahler B. Ryder, Betye Saar, Raymond Saunders, Charles Searles, Frank Sharpe, Thomas Sills, Vincent Smith, Evelyn P. Terry, Alma Thomas, John Torres, Charles White, Franklin A. White, Jr., Reginald Wickham, Todd Williams, Hartwell Yeargans, Elyn Zimmerman. Highly controversial exhibition from which 16 artists withdrew, including Romare Bearden, John Dowell, Melvin Edwards, Sam Gilliam, Richard Hunt, Daniel Johnson, Joe Overstreet, and William T. Williams. [Reviews included: John Canaday, "Black Artists on View in Two Exhibitions," NYT, April 7, 1971:52; Lawrence Alloway, "Art," The Nation 212, May 10, 1971:604-5; Grace Glueck, "Black Show Under Fire at the Whitney," NYT, January 31, 1971, D25; and Glueck's follow-up article: "15 of 75 Artists Leave as Whitney Exhibition Opens," NYT, April 6, 1971:50.] Small sq. 4to (25 cm.), cloth, d.j. First ed. NEWPORT NEWS (VA). Peninsula Fine Arts Center. Artifice in Gesture. 1990. Group exhibition. Included: John Torres, Jr. PANAMA CITY (FL). Panama Art Association. 14th Annual Transparent Watercolor Show. 1988. Group exhibition. Included: John Torres, Jr. PATTERSON, LINDSAY, compiled and ed. The Negro in Music and Art. New York: Publishers Company, Inc. [International Library of Negro Life and History vol. 9], 1967. xvi, 304 pp., illus., portraits, bibliog. 4to (28 cm.), cloth, d.j. 2nd ed. 1968 PLOSKI, HARRY A., ed. The Negro Almanac: A Reference Work on the Afro-American. New York: A Wiley-Interscience Publication, 1983. 1550 pp. Includes essay on The Black Artist. Gylbert Coker cited as art consultant. Many misspellings. Artists mentioned include: Scipio Moorhead, James Porter, Eugene Warburg, Robert Duncanson, William H. Simpson, Edward M. Bannister, Joshua Johnston, Robert Douglass, David Bowser, Edmonia Lewis, Henry O. Tanner, William Harper, Dorothy Fannin, Meta Fuller, Archibald Motley, Palmer Hayden. Malvin Gray Johnson, Laura Waring, William E. Scott, Hughie Lee-Smith, Zell Ingram, Charles Sallee, Elmer Brown, William E. Smith, George Hulsinger, James Herring, Aaron Douglas, Augusta Savage, Charles Alston, Hale Woodruff, Charles White, Richmond Barthé, Malvin Gray Johnson, Henry Bannarn, Florence Purviance, Dox Thrash, Robert Blackburn, James Denmark, Dindga McCannon, Frank Wimberly, Ann Tanksley, Don Robertson, Lloyd Toones, Lois Jones, Jo Butler, Robert Threadgill, Faith Ringgold, Romare Bearden, Ernest Crichlow, Norman Lewis, Jimmy Mosley, Samella Lewis, F. L. Spellmon, Phillip Hampton, Venola Seals Jennings, Juanita Moulon, Eugene Jesse Brown, Hayward Oubré, Ademola Olugebefola, Otto Neals, Kay Brown, Jean Taylor, Genesis II, David Hammons, Senga Nengudi, Randy Williams, Howardena Pindell, Edward Spriggs, Beauford Delaney, James Vanderzee, Melvin Edwards, Vincent Smith, Alonzo Davis, Dale Davis, Margaret Burroughs, Elizabeth Catlett, Gordon Parks, Rex Goreleigh, William McBride, Jr., Eldzier Cortor, James Gittens, Joan Maynard. Kynaston McShine, Coker, Cheryl McClenney, Faith Weaver, Randy Williams, Florence Hardney, Dolores Wright, Cathy Chance, Lowery Sims, Richard Hunt, Roland Ayers, Frank Bowling, Marvin Brown, Walter Cade, Catti, Barbara Chase-Riboud, Manuel Hughes, Barkley Hendricks, Juan Logan, Alvin Loving, Tom Lloyd, Lloyd McNeill, Algernon Miller, Norma Morgan, Mavis Pusey, Betye Saar, Raymond Saunders, Thomas Sills, Thelma Johnson Streat, Alma Thomas, John Torres, Todd Williams, Mahler Ryder, Minnie Evans, Jacob Lawrence, Haywood Rivers, Edward Clark, Camille Billops, Joe Overstreet, Louise Parks, Herbert Gentry, William Edmondson, James Parks, Marion Perkins, Bernard Goss, Reginald Gammon, Emma Amos, Charles Alston, Richard Mayhew, Al Hollingsworth, Calvin Douglass, Merton Simpson, Earl Miller, Felrath Hines, Perry Ferguson, William Majors, James Yeargans. Ruth Waddy; Evangeline Montgomery, Jeff Donaldson, Wadsworth Jarrell, Gerald Williams, Carolyn Lawrence, Barbara Jones-Hogu, Frank Smith, Howard Mallory, Napoleon Jones-Henderson, Nelson Stevens, Vivian Browne, Kay Brown, William Harper, Isaac Hathaway, Julien Hudson, May Howard Jackson, Edmonia Lewis, Patrick Reason, William Simpson, A. B. Wilson, William Braxton, Allan Crite, Alice Gafford, Sargent Johnson, William H. Johnson, William Artis, John Biggers, William Carter, Joseph Delaney, Elton Fax, Frederick Flemister, Ronald Joseph, Horace Pippin, Charles Sebree, Bill Traylor, Ellis Wilson, John Wilson, Starmanda Bullock, Dana Chandler, Raven Chanticleer, Roy DeCarava, John Dowell, Sam Gilliam, David Hammons, Daniel Johnson, Geraldine McCullough, Earl Miller, Clarence Morgan, Norma Morgan, Skunder Boghossian, Bob Thompson, Clifton Webb, Jack Whitten. 4to, cloth. 4th ed. RICHMOND (VA). Arts on the Square. International Artists Christaphora and John Torres. 1992. Group exhibition. Included: John Torres, Jr. RICHMOND (VA). Arts on the Square. Textures of Color: Torres and Robeers at Arts on the Square. 1993. Two-person exhibition. RICHMOND (VA). Crestar Gallery. Conceptual Work. 1988. Group exhibition. Included: John Torres, Jr. RICHMOND (VA). Last Stop Gallery. Figures and Fishes. 1992. Group exhibition. Included: John Torres, Jr. RICHMOND (VA). Valentine Museum. Virginia's Black Heroes and Heroines. 1988. Group exhibition. Included: John Torres, Jr. ROANOKE (VA). Roanoke Museum of Fine Arts. Al Bright and John Torres. February 6-March 16, 1986. Two-person exhibition. ROBERTSON, JACK. Twentieth-Century Artists on Art. An Index to Artists' Writings, Statements, and Interviews. Boston: G.K. Hall & Co., 1985. Useful reference work; includes numerous African American artists: Ron Adams, Charles Alston, Charlotte Amevor, Benny Andrews, Dorothy Atkins, Casper Banjo, Ellen Banks, Romare Bearden, Ed Bereal, Arthur Berry, John Biggers, Betty Blayton, Gloria Bohanon, Shirley Bolton, David Bradford, Arthur Britt, Frederick Brown, Kay Brown, Winifred Brown, Vivian Browne, Calvin Burnett, Margaret Burroughs, Cecil Burton, Sheryle Butler, Carole Byard, Arthur Carraway, Bernie Casey, Yvonne Catchings, Mitchell Caton, Elizabeth Catlett, Dana Chandler, Barbara Chase-Riboud, Claude Clark Jr., Irene Clark, Donald Coles, Robert Colescott, Dan Concholar, Eldzier Cortor, Marva Cremer, Doris Crudup, Dewey Crumpler, Emilio Cruz, Samuel Curtis, William Curtis, Alonzo Davis, Bing Davis, Dale Davis, Roy DeCarava, Beauford Delaney, Brooks Dendy, Murry DePillars, Robert D'Hue, Kenneth Dickerson, Leo Dillon, Aaron Douglas, Emory Douglas, David Driskell, Eugenia Dunn, Annette Ensley, Eugene Eda, Melvin Edwards, Marion Epting, Minnie Evans, Frederick Eversley, Tom Feelings, Mikele Fletcher, Moses O. Fowowe, Miriam Francis, Ibibio Fundi, Alice Gafford, West Gale, Joseph Geran, Sam Gilliam, Robert Glover, Wilhelmina Godfrey, Rex Goreleigh, Robert H. Green, Donald O. Greene, Ron Griffin, Eugene Grigsby. Horathel Hall, Wes Hall, David Hammons, Philip Hampton, Marvin Harden, John T. Harris, William Harris, Kitty Hayden, Ben Hazard, Napoleon Jones-Henderson (as Henderson), William H. Henderson, Ernest Herbert, Leon Hicks, Candace Hill-Montgomery, Alfred Hinton, Al Hollingswoth, Earl Hooks, Raymond Howell, Margo Humphrey, Richard Hunt, Bill Hutson, Suzanne Jackson, Walter Jackson, Rosalind Jeffries, Marie Johnson, Ben Jones, Laura Jones, Lois Mailou Jones, Jack Jordan, Cliff Joseph, Gwendolyn Knight, Larry Compton Kolawole, Raymond Lark, Jacob Lawrence, Flora Lewis, James E. Lewis, Norman Lewis, Samella Lewis, Tom Lloyd, Juan Logan, Willie Longshore, Ed Love, Al Loving, Philip Mason, Richard Mayhew, Valerie Maynard, Karl McIntosh, William McNeil, Yvonne Meo, Sam Middleton, Onnie Millar, Eva H. Miller, Sylvia Miller, Lev Mills, James Mitchell, Arthur Monroe, Evangeline Montgomery, Ron Moore, Norma Morgan, Jimmie Mosely, Otto Neals, Trudell Obey, Kermit Oliver, Haywood Oubré, John Outterbridge, Lorenzo Pace, William Pajaud, Denise Palm, James Parks, Angela Perkins, Howardena Pindell, Elliott Pinkney, Adrian Piper, Horace Pippin, Leslie Price, Noah Purifoy, Martin Puryear, Roscoe Reddix, Jerry Reed, Robert G. Reid, William Reid, John Rhoden, Gary Rickson, John Riddle, Faith Ringgold, Haywood Rivers, Lethia Robertson, Brenda Rogers, Charles D. Rogers, Bernard Rollins, Arthur Rose, John Russell, Betye Saar, Raymond Saunders, Charles Shelton, Thomas Sills, Jewel Simon, Merton Simpson, Van Slater, Alfred James Smith, Arenzo Smith, Arthur Smith, Damballah Smith, George Smith, Howard Smith. Greg Sparks, Sharon Spencer, Nelson Stevens, James Tanner, Della Taylor, Rod Taylor, Evelyn Terry, Alma Thomas, James "Son Ford" Thomas, Bob Thompson. John Torres, Elaine Towns, Curtis Tucker, Yvonne Tucker, Charlene Tull, Leo Twiggs, Alfred Tyler, Anna Tyler, Bernard Upshur, Florestee Vance, Royce Vaughn, Ruth Waddy, Larry Walker, William Walker, Bobby Walls, Carole Ward, Pecolia Warner, Mary Washington, James Watkins, Roland Welton, Amos White, Charles White, Tim Whiten, Acquaetta Williams, Chester Williams, Daniel Williams, Laura Williams, William T. Williams, Luster Willis, Fred Wilson, John Wilson, Stanley Wilson, Bernard Wright, Richard Wyatt, Bernard Young, Charles Young, Milton Young. 4to, cloth. RUSSELL (KS). Deines Cultural Art Center. Artists from Richmond. 1992. Group exhibition. Included: John Torres, Jr. SAN FRANCISCO (CA). San Francisco Museum of Modern Art (SFMOMA). World Print Competition. 1977. Group exhibition. Included: John Torres, Jr. SANTA FE (NM). Institute of American Indian Art. Faculty Show. 1975. Group exhibition. Included: John Torres, Jr. SPRADLING, MARY MACE. In Black and White: Afro-Americans in Print. Kalamazoo: Kalamazoo Public Library, 1980. 2 vols. 1089 pp. Includes: John H. Adams, Ron Adams, Alonzo Aden, Muhammad Ali, Baba Alabi Alinya, Charles Alston, Charlotte Amevor, Benny Andrews, Ralph Arnold, William Artis, Ellsworth Ausby, Jacqueline Ayer, Calvin Bailey, Jene Ballentine, Casper Banjo, Henry Bannarn, Edward Bannister, Dutreuil Barjon, Ernie Barnes, Carolyn Plaskett Barrow, Richmond Barthé, Beatrice Bassette, Ad Bates, Romare Bearden, Phoebe Beasley, Roberta Bell, Cleveland Bellow, Ed Bereal, Arthur Berry, DeVoice Berry, Cynthia Bethune, Charles Bible, John Biggers, Camille Billops, Bob Blackburn, Irving Blaney, Bessie Blount, Gloria Bohanon, Leslie Bolling, Shirley Bolton, Charles Bonner, Michael Borders, John Borican, Earl Bostic, Augustus Bowen, David Bowser, David Bradford, Edward Brandford, Brumsic Brandon, William Braxton, Arthur Britt Sr., Benjamin Britt, Sylvester Britton, Elmer Brown, Fred Brown, Kay Brown, Margery Brown, Richard L. Brown, Samuel Brown, Vivian E. Browne, Henry Brownlee, Linda Bryant, Starmanda Bullock, Juana Burke, Selma Burke, Eugene Burkes, Viola Burley, Calvin Burnett, John Burr, Margaret Burroughs, Nathaniel Bustion, Sheryle Butler, Elmer Simms Campbell, Thomas Cannon, Nick Canyon, Edward Carr, Art Carraway, Ted Carroll, Joseph S. Carter, William Carter, Catti, George Washington Carver, Yvonne Catchings, Elizabeth Catlett, Mitchell Caton, Dana Chandler, Kitty Chavis, George Clack, Claude Clark, Ed Clark, J. Henrik Clarke, Leroy Clarke, Ladybird Cleveland, Floyd Coleman, Donald Coles, Margaret Collins, Paul Collins, Sam Collins, Dan Concholar, Arthur Coppedge, Wallace X. Conway, Leonard Cooper, William A. Cooper, Art Coppedge, Eldzier Cortor, Samuel Countee, Harold Cousins, William Craft, Cleo Crawford, Marva Cremer, Ernest Crichlow, Allan Crite, Jerrolyn Crooks, Harvey Cropper, Doris Crudup, Robert Crump, Dewey Crumpler, Frank E. Cummings, William Curtis, Mary Reed Daniel, Alonzo Davis, Charles Davis, Willis "Bing" Davis, Dale Davis, Charles C. Dawson, Juette Day, Thomas Day, Roy DeCarava, Paul DeCroom, Avel DeKnight, Beauford Delaney, Joseph Delaney, Richard Dempsey, Murry DePillars, Robert D'Hue, Kenneth Dickerson, Leo Dillon, Raymond Dobard, Vernon Dobard, Jeff Donaldson, Aaron Douglas, Emory Douglas, Robert Douglass, Glanton Dowdell, David Driskell, Yolande Du Bois, Robert Duncanson, Eugenia Dunn, John Dunn, Adolphus Ealey, Eugene Eda, Melvin Edwards, Gaye Elliington, Annette Ensley, Marion Epting, Minnie Evans, Frederick Eversley, James Fairfax, Kenneth Falana, Allen Fannin, John Farrar, William Farrow, Elton Fax, Muriel Feelings, Tom Feelings, Frederick Flemister, Mikelle Fletcher, Curt Flood, Thomas Floyd, Doyle Foreman, Mozelle Forte (costume and fabric designer), Amos Fortune, Mrs. C.R. Foster, Inez Fourcard (as Fourchard), John Francis, Miriam Francis, Allan Freelon, Meta Warrick Fuller, Stephany Fuller, Gale Fulton-Ross, Ibibio Fundi, Alice Gafford, Otis Galbreath, West Gale, Reginald Gammon, Jim Gary, Herbert Gentry, Joseph Geran, Jimmy Gibbez, Sam Gilliam, Robert Glover, Manuel Gomez, Russell Gordon, Rex Goreleigh, Bernard Goss, Samuel Green, William Green, Donald Greene, Joseph Grey, Ron Griffin, Eugene Grigsby, Henry Gudgell, Charles Haines, Clifford Hall, Horathel Hall, Wesley Hall, David Hammons, James Hampton, Phillip Hampton, Lorraine Hansberry, Marvin Harden, Arthur Hardie, Inge Hardison, John Hardrick, Edwin Harleston, William A. Harper, Gilbert Harris, John Harris, Maren Hassinger, Isaac Hathaway, Frank Hayden, Kitty Hayden, Palmer Hayden, Vertis Hayes, Wilbur Haynie, Dion Henderson, Ernest Herbert, Leon Hicks, Hector Hill, Tony Hill, Geoffrey Holder, Al Hollingsworth, Varnette Honeywood, Earl Hooks, Humbert Howard, James Howard, Raymond Howell, Julien Hudson, Manuel Hughes, Margo Humphrey, Thomas Hunster, Richard Hunt, Clementine Hunter, Norman Hunter, Orville Hurt, Bill Hutson, Nell Ingram, Tanya Izanhour, Ambrose Jackson, Earl Jackson, May Jackson, Nigel Jackson, Suzanne Jackson, Walter Jackson, Louise Jefferson, Ted Joans, Daniel Johnson, Lester L. Johnson, Jr., Malvin Gray Johnson, Marie Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Barbara Jones, Ben Jones, Calvin Jones, Frederick D. Jones Jr., James Arlington Jones, Lawrence Jones, Lois Mailou Jones, Eddie Jack Jordan, Ronald Joseph, Lemuel Joyner, Paul Keene, Elyse J. Kennart, Joseph Kersey, Gwendolyn Knight, Lawrence Compton Kolawole, Oliver LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Lewis H. Latimer, Jacob Lawrence, Clarence Lawson, Bertina Lee, Joanna Lee, Peter Lee, Hughie Lee-Smith, Leon Leonard, Curtis Lewis, Edmonia Lewis, James Edward Lewis, Norman Lewis, Samella Lewis, Charles Lilly, Henri Linton, Jules Lion, Romeyn Lippman, Tom Lloyd, Jon Lockard, Juan Logan, Willie Longshore, Ed Loper, Ed Love, Al Loving, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, James McMillan, William McNeil, Lloyd McNeill, David Mann, William Marshall, Helen Mason, Philip Mason, Winifred Mason, Calvin Massey, Lester (Nathan) Mathews, William Maxwell, Richard Mayhew, Valerie Maynard, Yvonne Meo, Sam Middleton, Onnie Millar, Aaron Miller, Eva Miller, Lev Mills, P'lla Mills, Evangeline J. Montgomery, Arthur Monroe, Frank Moore, Ron Moore, Scipio Moorhead, Norma Morgan, Ken Morris, Calvin Morrison, Jimmie Mosely, Leo Moss, Lottie Moss, Archibald Motley, Hugh Mulzac, Frank Neal, George Neal, Otto Neals, Shirley Nero, Effie Newsome, Nommo, George Norman, Georg Olden, Ademola Olugebefola, Conora O'Neal (fashion designer), Cora O'Neal, Lula O'Neal, Pearl O'Neal, Ron O'Neal, Hayward Oubré, John Outterbridge, Carl Owens, Lorenzo Pace, Alvin Paige, Robert Paige, William Pajaud, Denise Palm, Norman Parish, Jules Parker, James Parks, Edgar Patience, Angela Perkins, Marion Perkins, Michael Perry, Jacqueline Peters, Douglas Phillips, Harper Phillips, Delilah Pierce, Howardena Pindell, Horace Pippin, Julie Ponceau, James Porter, Leslie Price, Ramon Price, Nelson Primus, Nancy Prophet, Noah Purifoy, Teodoro Ramos Blanco y Penita, Otis Rathel, Patrick Reason, William Reid, John Rhoden, Barbara Chase-Riboud, William Richmond, Percy Ricks, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Malkia Roberts, Brenda Rogers, Charles Rogers, George Rogers, Arthur Rose, Nancy Rowland, Winfred Russell, Mahler Ryder, Betye Saar, Charles Sallee, Marion Sampler, John Sanders, Walter Sanford, Raymond Saunders, Augusta Savage, William E. Scott, Charles Sebree, Thomas Sills, Carroll Simms, Jewel Simon, Walter Simon, Merton Simpson, William H. Simpson, Louis Slaughter, Gwen Small, Albert A. Smith, Alvin Smith, Hughie Lee-Smith, John Henry Smith, Jacob Lawrence, John Steptoe, Nelson Stevens, Edward Stidum, Elmer C. Stoner, Lou Stovall, Henry O. Tanner, Ralph Tate, Betty Blayton Taylor, Della Taylor, Bernita Temple, Herbert Temple, Alma Thomas, Elaine Thomas, Larry Thomas, Carolyn Thompson, Lovett Thompson, Mildred Thompson, Mozelle Thompson, Robert (Bob) Thompson, Dox Thrash, Neptune Thurston, John Torres, Nat Turner, Leo Twiggs, Bernard Upshur, Royce Vaughn, Ruth Waddy, Anthony Walker, Earl Walker, Larry Walker, William Walker, Daniel Warburg, Eugene Warburg, Carole Ward, Laura Waring, Mary P. Washington, James Watkins, Lawrence Watson, Edward Webster, Allen A. Weeks, Robert Weil, James Wells, Pheoris West, Sarah West, John Weston, Delores Wharton, Amos White, Charles White, Garrett Whyte, Alfredus Williams, Chester Williams, Douglas R. Williams, Laura Williams, Matthew Williams, Morris Williams, Peter Williams, Rosetta Williams (as Rosita), Walter Williams, William T. Williams, Ed Wilson, Ellis Wilson, Fred Wilson, John Wilson, Stanley Wilson, Vincent Wilson, Hale Woodruff, Bernard Wright, Charles Young, Kenneth Young, Milton Young. [Note the 3rd edition consists of two volumes published by Gale Research in 1980, with a third supplemental volume issued in 1985.] Large stout 4tos, red cloth. 3rd revised expanded edition. ST LOUIS (MO). St. Louis Public Library. An index to Black American artists. St. Louis: St. Louis Public Library, 1972. 50 pp. Also includes art historians such as Henri Ghent. In this database, only artists are cross-referenced. 4to (28 cm.) THOMISON, DENNIS. The Black Artist in America: An Index to Reproductions. Metuchen: Scarecrow Press, 1991. Includes: index to Black artists, bibliography (including doctoral dissertations and audiovisual materials.) Many of the dozens of spelling errors and incomplete names have been corrected in this entry and names of known white artists omitted from our entry, but errors may still exist in this entry, so beware: Jesse Aaron, Charles Abramson, Maria Adair, Lauren Adam, Ovid P. Adams, Ron Adams, Terry Adkins, (Jonathan) Ta Coumba T. Aiken, Jacques Akins, Lawrence E. Alexander, Tina Allen, Pauline Alley-Barnes, Charles Alston, Frank Alston, Charlotte Amevor, Emma Amos (Levine), Allie Anderson, Benny Andrews, Edmund Minor Archer, Pastor Argudin y Pedroso [as Y. Pedroso Argudin], Anna Arnold, Ralph Arnold, William Artis, Kwasi Seitu Asante [as Kwai Seitu Asantey], Steve Ashby, Rose Auld, Ellsworth Ausby, Henry Avery, Charles Axt, Roland Ayers, Annabelle Bacot, Calvin Bailey, Herman Kofi Bailey, Malcolm Bailey, Annabelle Baker, E. Loretta Ballard, Jene Ballentine, Casper Banjo, Bill Banks, Ellen Banks, John W. Banks, Henry Bannarn, Edward Bannister, Curtis R. Barnes, Ernie Barnes, James MacDonald Barnsley, Richmond Barthé, Jean-Michel Basquiat, Daniel Carter Beard, Romare Bearden, Phoebe Beasley, Falcon Beazer, Arthello Beck, Sherman Beck, Cleveland Bellow, Gwendolyn Bennett, Herbert Bennett, Ed Bereal, Arthur Berry, Devoice Berry, Ben Bey, John Biggers, Camille Billops, Willie Birch, Eloise Bishop, Robert Blackburn, Tarleton Blackwell, Lamont K. Bland, Betty Blayton, Gloria Bohanon, Hawkins Bolden, Leslie Bolling, Shirley Bolton, Higgins Bond, Erma Booker, Michael Borders, Ronald Boutte, Siras Bowens, Lynn Bowers, Frank Bowling, David Bustill Bowser, David Patterson Boyd, David Bradford, Harold Bradford, Peter Bradley, Fred Bragg, Winston Branch, Brumsic Brandon, James Brantley, William Braxton, Bruce Brice, Arthur Britt, James Britton, Sylvester Britton, Moe Brooker, Bernard Brooks, Mable Brooks, Oraston Brooks-el, David Scott Brown, Elmer Brown, Fred Brown, Frederick Brown, Grafton Brown, James Andrew Brown, Joshua Brown, Kay Brown, Marvin Brown, Richard Brown, Samuel Brown, Vivian Browne, Henry Brownlee, Beverly Buchanan, Selma Burke, Arlene Burke-Morgan, Calvin Burnett, Margaret Burroughs, Cecil Burton, Charles Burwell, Nathaniel Bustion, David Butler, Carole Byard, Albert Byrd, Walter Cade, Joyce Cadoo, Bernard Cameron, Simms Campbell, Frederick Campbell, Thomas Cannon (as Canon), Nicholas Canyon, John Carlis, Arthur Carraway, Albert Carter, Allen Carter, George Carter, Grant Carter, Ivy Carter, Keithen Carter, Robert Carter, William Carter, Yvonne Carter, George Washington Carver, Bernard Casey, Yvonne Catchings, Elizabeth Catlett, Frances Catlett, Mitchell Caton, Catti, Charlotte Chambless, Dana Chandler, John Chandler, Robin Chandler, Barbara Chase-Riboud, Kitty Chavis, Edward Christmas, Petra Cintron, George Clack, Claude Clark Sr., Claude Lockhart Clark, Edward Clark, Irene Clark, LeRoy Clarke, Pauline Clay, Denise Cobb, Gylbert Coker, Marion Elizabeth Cole, Archie Coleman, Floyd Coleman, Donald Coles, Robert Colescott, Carolyn Collins, Paul Collins, Richard Collins, Samuel Collins, Don Concholar, Wallace Conway, Houston Conwill, William A. Cooper, Arthur Coppedge, Jean Cornwell, Eldzier Cortor, Samuel Countee, Harold Cousins, Cleo Crawford, Marva Cremer, Ernest Crichlow, Norma Criss, Allan Rohan Crite, Harvey Cropper, Geraldine Crossland, Rushie Croxton, Doris Crudup, Dewey Crumpler, Emilio Cruz, Charles Cullen (White artist), Vince Cullers, Michael Cummings, Urania Cummings, DeVon Cunningham, Samuel Curtis, William Curtis, Artis Dameron, Mary Reed Daniel, Aaron Darling, Alonzo Davis, Bing Davis, Charles Davis, Dale Davis, Rachel Davis, Theresa Davis, Ulysses Davis, Walter Lewis Davis, Charles C. Davis, William Dawson, Juette Day, Roy DeCarava, Avel DeKnight, Beauford Delaney, Joseph Delaney, Nadine Delawrence, Louis Delsarte, Richard Dempsey, J. Brooks Dendy, III (as Brooks Dendy), James Denmark, Murry DePillars, Joseph DeVillis, Robert D'Hue, Kenneth Dickerson, Voris Dickerson, Charles Dickson, Frank Dillon, Leo Dillon, Robert Dilworth, James Donaldson, Jeff Donaldson, Lillian Dorsey, William Dorsey, Aaron Douglas, Emory Douglas, Calvin Douglass, Glanton Dowdell, John Dowell, Sam Doyle, David Driskell, Ulric S. Dunbar, Robert Duncanson, Eugenia Dunn, John Morris Dunn, Edward Dwight, Adolphus Ealey, Lawrence Edelin, William Edmondson, Anthony Edwards, Melvin Edwards, Eugene Eda [as Edy], John Elder, Maurice Ellison, Walter Ellison, Mae Engron, Annette Easley, Marion Epting, Melvyn Ettrick (as Melvin), Clifford Eubanks, Minnie Evans, Darrell Evers, Frederick Eversley, Cyril Fabio, James Fairfax, Kenneth Falana, Josephus Farmer, John Farrar, William Farrow, Malaika Favorite, Elton Fax, Tom Feelings, Claude Ferguson, Violet Fields, Lawrence Fisher, Thomas Flanagan, Walter Flax, Frederick Flemister, Mikelle Fletcher, Curt Flood, Batunde Folayemi, George Ford, Doyle Foreman, Leroy Foster, Walker Foster, John Francis, Richard Franklin, Ernest Frazier, Allan Freelon, Gloria Freeman, Pam Friday, John Fudge, Meta Fuller, Ibibio Fundi, Ramon Gabriel, Alice Gafford, West Gale, George Gamble, Reginald Gammon, Christine Gant, Jim Gary, Adolphus Garrett, Leroy Gaskin, Lamerol A. Gatewood, Herbert Gentry, Joseph Geran, Ezekiel Gibbs, William Giles, Sam Gilliam, Robert Glover, William Golding, Paul Goodnight, Erma Gordon, L. T. Gordon, Robert Gordon, Russell Gordon, Rex Goreleigh, Bernard Goss, Joe Grant, Oscar Graves, Todd Gray, Annabelle Green, James Green, Jonathan Green, Robert Green, Donald Greene, Michael Greene, Joseph Grey, Charles Ron Griffin, Eugene Grigsby, Raymond Grist, Michael Gude, Ethel Guest, John Hailstalk, Charles Haines, Horathel Hall, Karl Hall, Wesley Hall, Edward Hamilton, Eva Hamlin-Miller, David Hammons, James Hampton, Phillip Hampton, Marvin Harden, Inge Hardison, John Hardrick, Edwin Harleston, William Harper, Hugh Harrell, Oliver Harrington, Gilbert Harris, Hollon Harris, John Harris, Scotland J. B. Harris, Warren Harris, Bessie Harvey, Maren Hassinger, Cynthia Hawkins (as Thelma), William Hawkins, Frank Hayden, Kitty Hayden, Palmer Hayden, William Hayden, Vertis Hayes, Anthony Haynes, Wilbur Haynie, Benjamin Hazard, June Hector, Dion Henderson, Napoleon Jones-Henderson, William Henderson, Barkley Hendricks, Gregory A. Henry, Robert Henry, Ernest Herbert, James Herring, Mark Hewitt, Leon Hicks, Renalda Higgins, Hector Hill, Felrath Hines, Alfred Hinton, Tim Hinton, Adrienne Hoard, Irwin Hoffman, Raymond Holbert, Geoffrey Holder, Robin Holder, Lonnie Holley, Alvin Hollingsworth, Eddie Holmes, Varnette Honeywood, Earl J. Hooks, Ray Horner, Paul Houzell, Helena Howard, Humbert Howard, John Howard, Mildred Howard, Raymond Howell, William Howell, Calvin Hubbard, Henry Hudson, Julien Hudson, James Huff, Manuel Hughes, Margo Humphrey, Raymond Hunt, Richard Hunt, Clementine Hunter, Elliott Hunter, Arnold Hurley, Bill Hutson, Zell Ingram, Sue Irons, A. B. Jackson, Gerald Jackson, Harlan Jackson, Hiram Jackson, May Jackson, Oliver Jackson, Robert Jackson, Suzanne Jackson, Walter Jackson, Martha Jackson-Jarvis, Bob James, Wadsworth Jarrell, Jasmin Joseph [as Joseph Jasmin], Archie Jefferson, Rosalind Jeffries, Noah Jemison, Barbara Fudge Jenkins, Florian Jenkins, Chester Jennings, Venola Jennings, Wilmer Jennings, Georgia Jessup, Johana, Daniel Johnson, Edith Johnson, Harvey Johnson, Herbert Johnson, Jeanne Johnson, Malvin Gray Johnson, Marie Johnson-Calloway, Milton Derr (as Milton Johnson), Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Calvin Jones, Dorcas Jones, Frank A. Jones, Frederick D. Jones, Jr. (as Frederic Jones), Henry B. Jones, Johnny Jones, Lawrence Arthur Jones, Leon Jones, Lois Mailou Jones, Nathan Jones, Tonnie Jones, Napoleon Jones-Henderson, Barbara Jones-Hogu, Jack Jordan, Cliff Joseph, Ronald Joseph, Lemuel Joyner, Edward Judie, Michael Kabu, Arthur Kaufman, Charles Keck, Paul Keene, John Kendrick, Harriet Kennedy, Leon Kennedy, Joseph Kersey; Virginia Kiah, Henri King, James King, Gwendolyn Knight, Robert Knight, Lawrence Kolawole, Brenda Lacy, (Laura) Jean Lacy, Roy LaGrone, Artis Lane, Doyle Lane, Raymond Lark, Carolyn Lawrence, Jacob Lawrence, James Lawrence, Clarence Lawson, Louis LeBlanc, James Lee, Hughie Lee-Smith, Lizetta LeFalle-Collins, Leon Leonard, Bruce LeVert, Edmonia Lewis, Edwin E. Lewis, Flora Lewis, James E. Lewis, Norman Lewis, Roy Lewis, Samella Lewis, Elba Lightfoot, Charles Lilly [as Lily], Arturo Lindsay, Henry Linton, Jules Lion, James Little, Marcia Lloyd, Tom Lloyd, Jon Lockard, Donald Locke, Lionel Lofton, Juan Logan, Bert Long, Willie Longshore, Edward Loper, Francisco Lord, Jesse Lott, Edward Love, Nina Lovelace, Whitfield Lovell, Alvin Loving, Ramon Loy, William Luckett, John Lutz, Don McAllister, Theadius McCall, Dindga McCannon, Edward McCluney, Jesse McCowan, Sam McCrary, Geraldine McCullough, Lawrence McGaugh, Charles McGee, Donald McIlvaine, Karl McIntosh, Joseph Mack, Edward McKay, Thomas McKinney, Alexander McMath, Robert McMillon, William McNeil, Lloyd McNeill, Clarence Major, William Majors, David Mann, Ulysses Marshall, Phillip Lindsay Mason, Lester Mathews, Sharon Matthews, William (Bill) Maxwell, Gordon Mayes, Marietta Mayes, Richard Mayhew, Valerie Maynard, Victoria Meek, Leon Meeks, Yvonne Meo, Helga Meyer, Gaston Micheaux, Charles Mickens, Samuel Middleton, Onnie Millar, Aaron Miller, Algernon Miller, Don Miller, Earl Miller, Eva Hamlin Miller, Guy Miller, Julia Miller, Charles Milles, Armsted Mills, Edward Mills, Lev Mills, Priscilla Mills (P'lla), Carol Mitchell, Corinne Mitchell, Tyrone Mitchell, Arthur Monroe, Elizabeth Montgomery, Ronald Moody, Ted Moody, Frank Moore, Ron Moore, Sabra Moore, Theophilus Moore, William Moore, Leedell Moorehead, Scipio Moorhead, Clarence Morgan, Norma Morgan, Sister Gertrude Morgan, Patricia Morris, Keith Morrison, Lee Jack Morton, Jimmie Mosely, David Mosley, Lottie Moss, Archibald Motley, Hugh Mulzac, Betty Murchison, J. B. Murry, Teixera Nash, Inez Nathaniel, Frank Neal, George Neal, Jerome Neal, Robert Neal, Otto Neals, Robert Newsome, James Newton, Rochelle Nicholas, John Nichols, Isaac Nommo, Oliver Nowlin, Trudell Obey, Constance Okwumabua, Osira Olatunde, Kermit Oliver, Yaounde Olu, Ademola Olugebefola, Mary O'Neal, Haywood Oubré, Simon Outlaw, John Outterbridge, Joseph Overstreet, Carl Owens, Winnie Owens-Hart, Lorenzo Pace, William Pajaud, Denise Palm, James Pappas, Christopher Parks, James Parks, Louise Parks, Vera Parks, Oliver Parson, James Pate, Edgar Patience, John Payne, Leslie Payne, Sandra Peck, Alberto Pena, Angela Perkins, Marion Perkins, Michael Perry, Bertrand Phillips, Charles James Phillips, Harper Phillips, Ted Phillips, Delilah Pierce, Elijah Pierce, Harold Pierce, Anderson Pigatt, Stanley Pinckney, Howardena Pindell, Elliott Pinkney, Jerry Pinkney, Robert Pious, Adrian Piper, Horace Pippin, Betty Pitts, Stephanie Pogue, Naomi Polk, Charles Porter, James Porter, Georgette Powell, Judson Powell, Richard Powell, Daniel Pressley, Leslie Price, Ramon Price, Nelson Primus, Arnold Prince, E. (Evelyn?) Proctor, Nancy Prophet, Ronnie Prosser, William Pryor, Noah Purifoy, Florence Purviance, Martin Puryear, Mavis Pusey, Teodoro Ramos Blanco y Penita, Helen Ramsaran, Joseph Randolph; Thomas Range, Frank Rawlings, Jennifer Ray, Maxine Raysor, Patrick Reason, Roscoe Reddix, Junius Redwood, James Reed, Jerry Reed, Donald Reid, O. Richard Reid, Robert Reid, Leon Renfro, John Rhoden, Ben Richardson, Earle Richardson, Enid Richardson, Gary Rickson, John Riddle, Gregory Ridley, Faith Ringgold, Haywood Rivers, Arthur Roach, Malkia Roberts, Royal Robertson, Aminah Robinson, Charles Robinson, John N. Robinson, Peter L. Robinson, Brenda Rogers, Charles Rogers, Herbert Rogers, Juanita Rogers, Sultan Rogers, Bernard Rollins, Henry Rollins, Arthur Rose, Charles Ross, James Ross, Nellie Mae Rowe, Sandra Rowe, Nancy Rowland, Winfred Russsell, Mahler Ryder, Alison Saar, Betye Saar, Charles Sallee, JoeSam., Marion Sampler, Bert Samples, Juan Sanchez, Eve Sandler, Walter Sanford, Floyd Sapp, Raymond Saunders, Augusta Savage, Ann Sawyer, Sydney Schenck, Vivian Schuyler Key, John Scott (Johnny) , John Tarrell Scott, Joyce Scott, William Scott, Charles Searles, Charles Sebree, Bernard Sepyo, Bennie Settles, Franklin Shands, Frank Sharpe, Christopher Shelton, Milton Sherrill, Thomas Sills, Gloria Simmons, Carroll Simms, Jewell Simon, Walter Simon, Coreen Simpson, Ken Simpson, Merton Simpson, William Simpson, Michael Singletary (as Singletry), Nathaniel Sirles, Margaret Slade (Kelley), Van Slater, Louis Sloan, Albert A. Smith, Alfred J. Smith, Alvin Smith, Arenzo Smith, Damballah Dolphus Smith, Floyd Smith, Frank Smith, George Smith, Howard Smith, John Henry Smith, Marvin Smith, Mary T. Smith, Sue Jane Smith, Vincent Smith, William Smith, Zenobia Smith, Rufus Snoddy, Sylvia Snowden, Carroll Sockwell, Ben Solowey, Edgar Sorrells, Georgia Speller, Henry Speller, Shirley Stark, David Stephens, Lewis Stephens, Walter Stephens, Erik Stephenson, Nelson Stevens, Mary Stewart, Renée Stout, Edith Strange, Thelma Streat, Richard Stroud, Dennis Stroy, Charles Suggs, Sharon Sulton, Johnnie Swearingen, Earle Sweeting, Roderick Sykes, Clarence Talley, Ann Tanksley, Henry O. Tanner, James Tanner, Ralph Tate, Carlton Taylor, Cecil Taylor, Janet Taylor Pickett, Lawrence Taylor, William (Bill) Taylor, Herbert Temple, Emerson Terry, Evelyn Terry, Freida Tesfagiorgis, Alma Thomas, Charles Thomas, James "Son Ford" Thomas, Larry Erskine Thomas, Matthew Thomas, Roy Thomas, William Thomas (a.k.a. Juba Solo), Conrad Thompson, Lovett Thompson, Mildred Thompson, Phyllis Thompson, Bob Thompson, Russ Thompson, Dox Thrash, Mose Tolliver, William Tolliver, Lloyd Toone, John Torres, Elaine Towns, Bill Traylor, Charles Tucker, Clive Tucker, Yvonne Edwards Tucker, Charlene Tull, Donald Turner, Leo Twiggs, Alfred Tyler, Anna Tyler, Barbara Tyson Mosley, Bernard Upshur, Jon Urquhart, Florestee Vance, Ernest Varner, Royce Vaughn, George Victory, Harry Vital, Ruth Waddy, Annie Walker, Charles Walker, Clinton Walker, Earl Walker, Lawrence Walker, Raymond Walker [a.k.a. Bo Walker], William Walker, Bobby Walls, Daniel Warburg, Eugene Warburg, Denise Ward-Brown, Evelyn Ware, Laura Waring, Masood Ali Warren, Horace Washington, James Washington, Mary Washington, Timothy Washington, Richard Waters, James Watkins, Curtis Watson, Howard Watson, Willard Watson, Richard Waytt, Claude Weaver, Stephanie Weaver, Clifton Webb, Derek Webster, Edward Webster, Albert Wells, James Wells, Roland Welton, Barbara Wesson, Pheoris West, Lamonte Westmoreland, Charles White, Cynthia White, Franklin White, George White, J. Philip White, Jack White (sculptor), Jack White (painter), John Whitmore, Jack Whitten, Garrett Whyte, Benjamin Wigfall, Bertie Wiggs, Deborah Wilkins, Timothy Wilkins, Billy Dee Williams, Chester Williams, Douglas Williams, Frank Williams, George Williams, Gerald Williams, Jerome Williams, Jose Williams, Laura Williams, Matthew Williams, Michael K. Williams, Pat Ward Williams, Randy Williams, Roy Lee Williams, Todd Williams, Walter Williams, William T. Williams, Yvonne Williams, Philemona Williamson, Stan Williamson, Luster Willis, A. B. Wilson, Edward Wilson, Ellis Wilson, Fred Wilson, George Wilson, Henry Wilson, John Wilson, Stanley C. Wilson, Linda Windle, Eugene Winslow, Vernon Winslow, Cedric Winters, Viola Wood, Hale Woodruff, Roosevelt Woods, Shirley Woodson, Beulah Woodard, Bernard Wright, Dmitri Wright, Estella Viola Wright, George Wright, Richard Wyatt, Frank Wyley, Richard Yarde, James Yeargans, Joseph Yoakum, Bernard Young, Charles Young, Clarence Young, Kenneth Young, Milton Young. Solo Exhibitions 1996 "The Beat Goes On," Black History Museum, Virginia. 1994 Garden Installation River Front Plaza, Richmond, Virginia. 1991 "Torres Retrospective," University of North Carolina at Wilmington, North Carolina. 1990 "Art of Stone," Shenandoah Valley Art Center, Waynesboro, Virginia. 1989 "Torres Painting and Sculpture," Buckingham Arts Center, Buckingham County, Virginia. "Torres Sculpture," Arlington County Court House, Arlington, Virginia. 1988 "Visiting Artist John Torres," Iowa Wesleyan College, Mt. Pleasant, Iowa. 1986 "Artist in Education Exhibit," Petersburg Area Art League and the Virginia Commission for the Arts. 1985 "Transitions," The Amber Gallery, Richmond, Virginia. 1981 "Ramifications," the Marsh Gallery, University of Richmond, Richmond, Virginia. "Tenth Anniversary Celebration," Virginia Center for the Creative Arts, Mt. San Angelo, Sweet Briar, Virginia. 1972 "Torres at Gerry Mansion," Rhode Island School of Design, Providence, R.I. "Negro Americano," Casa de la Cultura, Tolucca, Mexico. Group Exhibitions 1996 15th Annual September Competition Exhibition. Juror: Eleanor Heartney (Ed. Art in America) Children of Violence Video. 1995 Torres and Robeers Landscape Virginia. Riverfront Towers Gallery, Richmond, Virginia. Torres, Robeers and the children of Binford School, Two Story Fabric Installation. Black History Museum of Virginia, Richmond, Virginia. 1994 Valentine Riverside, "Torres and Robeers with the Black Community of Richmond," Richmond Virginia. 1993 "Textures of Color," Torres and Robeers at Arts on the Square, Richmond Virginia. 1992 "Torres and Christaphora Collaboration," Maarijk Raaijmakers Gallerie, Pedjeshof, Lottumsewieg, Grubbenvorst, (Bij Venlo), The Netherlands. "Artists from Richmond," Deines Cultural Art Center, Russel, Kansas. "Figures and Fishes," Last Stop Gallery, Richmond, Virginia. "International Artists Christaphora and John Torres", Arts on the Square, Richmond, Virginia. 1991 "Scholars Garden," River Front Plaza, Richmond, Virginia. "Torres Sculpture," Arts Around the Square," The Roanoke Museum of Fine Arts, Roanoke, Virginia. 1990 "Blue Ridge Radiations," Lord Fairfax Community College, Middleton, Virginia "Intimate Eye," McGraw-PAGE library, Randolph Macon College, Ashland, Virginia. "Artifice in Gesture," Peninsula Fine Arts Center, Newport News, Virginia. 1988 "14th Annual Transparent Watercolor Show." Panama Art Association, Panama City, Florida. "Conceptual Work," Crestar Gallery, Richmond, Virginia. "Virginia's Black Heroes and Heroines," Valentine Museum, Richmond, Virginia. 1987 "St Catherine's School Art Exhibition." Richmond, Virginia. 1986 "Al Bright and John Torres," Roanoke Museum of Fine Arts, Roanoke, Virginia. 1982 "Affordable Art," Danville Museum of Fine Arts & History, Danville, Virginia. 1977 "World Print Competition." San Francisco Museum of Modern Art, San Francisco, California. 1976 "Artigiani di Pietrasanta," (with H. Moore, Noguchi, et al.), Pietrasanta, Italia. "Americans," U.S. Embassy, Milano, Italia. "Torres American Carver," Gallery Waded, Nairobi, Kenya. "Art of Black New Mexico." Museum of Albuquerque, Albuquerque, New Mexico. 1975 "Faculty Show," Institute of American Indian Art, Santa Fe, New Mexico. "Artists in the Schools Exhibit," Carlsbad, New Mexico. 1972 "Art Processes from the Rhode Island School of Design Sculpture Department, Providence, Rhode Island. National Museum of Fine Art, Education Department, Washington, D.C. "Contemporary Black Artists," Whitney Museum of American Art, New York, NY. 1963 "John Torres Sculpture." Fitzgerald Cooperative Gallery, New York, NY. 1962 "John Torres Artist," Unitarian Church of All Souls, New York, NY. 1959-68 "Art Students League Concours," New York, NY. Awards and Commissions 1998 JB Fisher Model School, Artist in Education Grant. Virginia Commission Study Grant. 1997 Longwood Center for the Visual Arts (Project for "At Risk" Students). 1996 Partners for the Arts grant, Goochland Public Schools. Virginia Arts Commission-Virginia Community College Residency Grant, Dabney S. Lancaster C.C. Baker School Educare/Bridge Arts Project. Richmond Public School-Domestic Relations Court. Buckingham County Artist in Education Grant. Chesterfield County Public Schools, Art Residency. 1995 Virginia Foundation for the Humanities and Public Policy, Fairfield School Video profile of violence. 1994 "African American Ancestor Place," Valentine Museum, Richmond Virginia. Rhode Island School of Design-Mosby Middle School Collaboration. Site Specific Sculpture for two courtyards, Richmond, Virginia. 1993 Artist in Education Residency Grant, Fairfield Court Elementary School. Virginia Commission for the Arts, Richmond, Virginia. Artist in Education Residency Grant, Virginia Commission for the Arts, Mosby Middle School, Richmond, Virginia. Study Grant from the Virginia Commission for the Arts to work with the Harvard Graduate School of Education, Harvard University, Cambridge, Massachusetts. Artist in Education Grant for Buckingham County. 1992 Virginia Commission Study Grant, Harvard Graduate School of Education. Artist in Education Grant, for Fairfield Court Elementary School VAC. Artist in Education Grant, Southampton School, Richmond, Virginia. Technical Assistance Grant train to teachers in Mural technique. 1990 Named duPont Visiting Scholar by the Virginia Foundation for Independent Colleges, Richmond, Virginia. Adolph & Esther Gottlieb Foundation Inc., Grant. New York, NY. Robert Rauschenberg's Change, Inc. Grant. Artist Fellowship, Inc. Grant. (Norman Rockwell once won this one.) New York, NY. 1989 Artist in Education Residency Grant from the Virginia Commission for the Arts, Arlington County Public Schools. 1987 Artist in Education Residency Grant, Virginia Commission for the Arts, J.R. Tucker High School, Henrico County, Virginia. 1986 Artist in Education Residency Grant, Virginia Commission for the Arts, Petersburg, Virginia Public Schools. Roanoke Museum Exhibition Grant, the Coors Beer Corporation and the Virginia Commission for the Arts. 1975 Artist in the Schools Grant, Carlsbad Public Schools, New Mexico Arts Commission, Carlsbad, New Mexico. Travel Study Award, "Underemployment and Unemployment in the Arts," Ford Foundation, New York, NY. 1973-75 Grant contracts to Design a College of the Fine Arts for Native Americans, Department of the Interior, Bureau of Indian Affairs, Institute of American Indian Arts, Santa Fe, New Mexico. 1973 Grants to conduct sixteen state review of the Artist in the Schools Program. Education Department, National Endowment for the Arts, Washington, D.C. 1972-73 Minority Architecture Student Grants, Ford Foundation, New York, NY. "Discover Graphics" Grant, National Museum of Fine Arts Education Department. National Endowment for the Arts, Washington, D.C. 1972 Inner City Photography Grant, Polaroid Foundation, Cambridge, Massachusetts. 1969 Independent Studio Work Grant, Lindsay Trust, New York, NY. Independent Studio Work Grant, Wyman Foundation, New York, NY. 1968 Vermont Summer Assistance Grant, Jennifer Summer Project Grant ($153,000), Ford Foundation, New York, NY. 1966 Independent Studio Work Grant, Nora Kubie, New York, NY. 1965 Art Students League Scholarship in Sculpture, Ford Foundation, New York, NY. 1964 Board of Control Scholarship for Sculpture, Art Students League of New York, NY. 1963-72 Edward MacDowell Colony Fellowship, Peterborough, New Hampshire. 1961 Scholarship for Drawing. The New School for Social Research. Teaching and Art Experience 1998 Panelist, Sawtooth Center for the Visual Arts. Panelist-Visual Arts, North Carolina Commission, Longwood Center for the Visual Arts, Children at Risk, North Carolina. Artist in Education Grant, Fisher Model School, Virginia Commission. 1996 Panelist, Virginia Commission for the Arts (Roster). 1995 National Public Radio Committee Member, Winton Marsalis Project "Making the Music," Washington, DC. Panel Member, Visual Artists Competition, Maryland State Commission for the Arts, Maryland. Finalist, Community College Residency, Virginia Commission for the Arts, Clifton Forge, Virginia. 1994 Member, Partners in the Arts Governance Committee, Richmond Arts Council, Richmond, Virginia. Three Dimensional Crafts Instructor, Hand Work Shop, Richmond, Virginia. 1992 Panel Member, Artist Roster, Virginia Arts Commission, Richmond, Virginia. Set Designer, Black Jazz Theater of Richmond, Virginia. 1990 Consultant to design of National Testing System for Teachers of grades K-12. Educational Testing Service, Princeton, N.J. 1989 Board Member, Virginia Alliance Art Educators. 1988 Panelist, Artist in Education, Virginia Commission for the Arts. 1987 Artist in Education, Virginia Commission for the Arts. J.R. Tucker High School, Henrico County, Virginia. Artist in Education, Virginia Commission for the arts. Petersburg, Virginia Public Schools, Petersburg, Virginia. Panelist, Artist in Education, Virginia Commission for the Arts. Panelist, Regional Grants, Mid Atlantic Arts Foundation, Baltimore, Maryland. Arts on Tour, Virginia Commission for the Arts. National Endowment for the Arts. 1986 Artist in Education Residency Grant. Henrico County Public Schools, Virginia. 1985 Artist in Education Residency Grant, Virginia Commission for the Arts. Henrico County, Virginia. 1979-81 Drawing Instructor, Freshman Foundation, School of the Arts, Virginia Commonwealth University, Richmond, Virginia. 1978 Instructor, Visual Literacy, Richmond Public Schools, Richmond, Virginia. 1977 Manager and Instructor in Photography, Photoworks Community Gallery. Richmond, Virginia. 1975 Adjunct Professor, "From Slave Ship to Harlem, a Multifaceted Experience." New Mexico State University, Carlsbad Campus, Carlsbad, New Mexico. Artist in the Schools, New Mexico Arts Commission. Santa Fe, New Mexico. Project Director, College Program, Institute of American Indian Art. Santa Fe, New Mexico. Consultant, "Unemployment and underemployment in the arts." Ford Foundation, New York, NY. 1973 Assistant to the President, Rhode Island School of Design. Providence, Rhode Island. Consultant Reviewer of the "Artist in the Schools in Sixteen States." Education Department, National Endowment for the Arts. Washington, D.C. Poetry Readings for Children in the Harlem Public Library. Academy of American Poets, New York, NY. Instructor in Sculpture, Swain School of Art, New Bedford, Massachusetts. Board Member, Afro Art Center, Providence Rhode Island. 1972 Special Committee (The Artist in the Schools National pilot), Rhode Island Council on the Arts, Providence, Rhode Island. Instructor, "The History of the Black Artist 1920-1950, Black Studies Department, Brown University, Providence, Rhode Island. Consultant, Curriculum Design for Inner City Students, Art Department, Federal City College, Washington, D.C. Assistant to the President, Rhode Island School of Design, Providence, Rhode Island. 1969-72 Instructor, Sculpture Department, Rhode Island School of Design. Providence, Rhode Island. 1969 Assistant to the Dean, Rhode Island School of Design. Providence, Rhode Island. 1968 Consultant, Ford Foundation, New York, NY. Project Director, Art Students League Summer Program at the Vermont Academy. Saxons River, Vermont. 1967 Director of Students, Sculpture School, Art Students League of New York, NY. 1964-66 Board of Control Member, Art Students League of New York, NY. 1964 Mounting and wax impregnation of important works of art (Dali, Monet, etc.). Shar-Sisto Restoration Inc. New York, NY. 1963 Craft Instructor in Wood, Henry Street Settlement, New York, NY. Collections New York, NY Art Students League of New York Arlington, Virginia Bell Atlantic Corporation Lancaster, Virginia Dabney S. Lancaster Community College Richmond, Virginia Best Products Corporation Blanton Collection Federal Reserve Bank McGuire, Woods and Battle Ramada Hotel United Virginia Bank Valentine Museum Roanoke, Virginia Roanoke Museum of Fine Art Sweet Briar, Virginia Virginia Center for the Creative Arts Bibliography Spring 98 William and Mary Literature Review May 26, 28, 1994 Richmond Free Press, "Racing Against the Clock," "Curtain Up On Valentine Riverside," "African American Monument: Its Been A Community Effort." by Jeremy M. Lazarus. May 30,1994 Richmond Times Dispatch Metro Section, "Memorial, honors, reconciles." by Michael Paul Williams. Nov. 2, 1990 The Daily News Leader, Wayneeboro,Virginia. "Shenandoah Valley Art Center Opens Exhibits." by Art Editor. The News Virginian, Waynesboro, Virginia. "Torres Featured Artist at SVAC." by Art Editor. Oct. 17, 1990 The Shenandoah Valley-Herald, Middleton, Virginia. "LFCC Hosts Pottery Exhibit During October." by art editor. Oct. 10, 1990 The Front Royal News, Front Royal Virginia. "Art and Pottery Exhibit Opens." by art editor. Oct. 9, 1990 Northern Virginia Daily, Middleton, Virginia. "Art and Pottery Exhibit." by art editor. Oct. 4, 1990 "Works by Richmond Artists on Display in Middletown." by art editor. Aug. 12, 1990 Henrico/Hanover Plus, Richmond Times Dispatch, Richmond, Virginia. "Sculptor Carved Life Out of a Dream." by Janet Caggiano. May 11, 1989 The Washington Post, Virginia Weekly Section. "Sculptor Carves Dreams, Inspiration From Stone." by Leigh Jackson. Nov. 17, 1988 The Iowa Wesleyan Courier, Ames, Iowa. "Sculptor Lectures Students." by Candy Widener. Nov. 18, 1988 The Iowa Wesleyan Courier, Ames, Iowa. "John Torres, A Vehicle for Energy." by Cindy Widner. July 11, 1989 Farmville Herald, Farmville Virginia. "Torres' Paintings Displayed." by art editor. Sept., Oct, 1988 Virginia Commission for the Arts News, Richmond, Virginia. "Artists-In-Education." by Stephanie Davis Riker. April 17, 1988 The Arts Council of Richmond, Inc., "Artists Studio Tour." by Sally Lamb Bowring. March 4, 1987 Virginia Commission For the Arts News, Richmond Virginia. "Arts on the Road." by Patricia J. Parks. Winter 1986 Richmond Surroundings Magazine, Gallery, Richmond, Virginia. "John Torres." by Marian Ward Cates. Dec. 14, 1986 Richmond Times Dispatch, Richmond Virginia. "Virginia Artist Chosen Finalist." by Staff Writer. Sept. 1986 Educational Informer, Richmond, Virginia. "Artist in Residence." by staff writer. May 11, 1986 Richmond Times Dispatch, Richmond, Virginia. "To Aid Students, Artist Leaves No Nine Foot Stone Unturned." by Frank Green. May 1986 Communique Henrico County Public Schools Newsletter, Henrico, Virginia. "A Sculptor's Project Encourages Student Creativity." by staff writer. March 16, 1986 Roanoke Museum of Fine Arts, Roanoke, Virginia. "Al Bright and John Torres Exhibition, February 6 - March 16, 1986." by Peter Rippe. Feb. 7, 1986 Roanoke Times & World News, Roanoke Virginia. "Artist, Revue Give February a Classy Start." by Jeff DeBell. Feb. 6, 1986 Roanoke Times & World News, Roanoke, Virginia. "Why Don't We See Black Art Work At Other Times Of Year." by Ann Weinstein. Jan. 31, 1986 Roanoke Times & World News, Roanoke, Virginia. "A Musical Painter." by staff. Dec. 1985 VIP CARE, Virginia Institute of Pastoral Care, Richmond Virginia. "John Torres Friend of VIP CARE." by William Johnson. March l4, 1985 Richmond Times Dispatch, Richmond, Virginia. "Transitions, Sculptures, Watercolors." by Robert Merritt. 1979 Hatch Billops Collection, pp.21, 82, 105. by staff writer. 1977 Black Artists, pp.12-1113, 16, by Elton Fax. 1976 University of South Alabama Press, "Additions." p. 29 by staff writer. Negro Almanac, p· 742 (as Torres) by Ploski and Marr. 1974 American, p.45 by Keaveney. April, 1973 Artforum 11, p.66 by Staff Writer. 1973 Dictionary, p.436 by Baskin and Runes. Who's Who in American Art, 11, p. 737 by staff writer. 1976 Who's Who in American Art, 12, p.567 by staff writer. 1973 Afro-American Artists, p. 285 by Cerderholm. 1972 St Louis Public Library, "Index," p. 41 by staff writer. 1971 Whitney Museum of American Art, New York, NY. "Contemporary Black Artists", p. 59 by Robert Doty. Seventeen Black Artists, "John Torres", pp. 283-300 by Elton Fax. 1970-73 Biography Index, p.705 by staff writer. 1970 Dusable Museum of African American History, Calendar. 1969 Chronological History, p.485 by Bergman. American Negro Artist, p.231 by Elton Fax. June 1969 Boston Globe, Boston Massachusetts. "Vermont Summer." by staff writer. 1968 Sepia Magazine. "The Shape of Things to Come." by staff writer. April 1968 Art Gallery 11, p. 13, by staff writer. 1967 The Negro in Music and Art, "Magic Stones and Totem Poles." pp. 267-273 by Lindsay Patterson. 1963 Life Magazine, New York Edition. "Brooklyn Heights Preacher Uses the Arts in Worship Service." by staff writer. African-American topics African America History (timeline)[show] Culture[show] Religion[show] Political movements[show] Civic / economic groups[show] Sports[show] Ethnic subdivisions[show] Languages[show] Diaspora[show] Lists[show] Category: African-American society AmericaAfrica.svg African American portal vte African-American art is a broad term describing the visual arts of the American black community (African Americans). Influenced by various cultural traditions, including those of Africa, Europe and the Americas, traditional African-American art forms include the range of plastic arts, from basket weaving, pottery, and quilting to woodcarving and painting. Contents 1 History 1.1 Pre-colonial, Antebellum and Civil War eras 1.2 Post-Civil War 1.3 The Harlem Renaissance to contemporary art 1.3.1 Mid-20th century 2 See also 3 References 4 Sources 5 External links History Pre-colonial, Antebellum and Civil War eras This is the carved powder horn by carver John Bush from around 1754. Harriet Powers, Bible quilt, Mixed Media. 1898. Prior to the 20th century, African-American art existed during the French and Indian War. John Bush was a powder horn carver and soldier with the Massachusetts militia fighting with the British. His work has toured throughout Canada and the US.[1][2] His powder horn of 1756 has been part of a travelling exhibition throughout Canada and US.[3][4] Art continued in subsequent slave communities, through the end of the 20th century, African-American art has made a vital contribution to the art of the United States.[5] During the period between the 17th century and the early 19th century art took the form of small drums, quilts, wrought-iron figures and ceramic vessels in the southern United States; these artifacts have similarities with comparable crafts in West and Central Africa. In contrast, black artisans like the New England–based engraver Scipio Moorhead and the Baltimore portrait painter Joshua Johnson created art that was conceived in a western European fashion for their local markets.[6] Many of Africa’s most skilled artisans were enslaved in the Americas, while others learned their trades or crafts as apprentices to African or white skilled workers. It was often the practice for slave owners to hire out skilled artisans. With the consent of their masters, some slave artisans also were able to keep a small percentage of the wages earned in their free time and thereby save enough money to purchase their, and their families', freedom.[7] G. W. Hobbs, Patrick H. Reason, Joshua Johnson, and Scipio Moorhead were among the earliest known portrait artists, from the period of 1773–1887. Patronage by some white families allowed for private tutorship in special cases. Many of these sponsoring whites were abolitionists. The artists received more encouragement and were better able to support themselves in cities, of which there were more in the North and border states. Harriet Powers (1837–1910) was an African-American folk artist and quilt maker from rural Georgia, United States, born into slavery. Now nationally recognized for her quilts, she used traditional appliqué techniques to record local legends, Bible stories, and astronomical events on her quilts. Only two of her late quilts have survived: Bible Quilt 1886 and Bible Quilt 1898. Her quilts are considered among the finest examples of 19th-century Southern quilting,.[8][9] Like Powers, the women of Gee's Bend developed a distinctive, bold, and sophisticated quilting style based on traditional American (and African-American) quilts, but with a geometric simplicity. Although widely separated by geography, they have qualities reminiscent of Amish quilts and modern art. The women of Gee's Bend passed their skills and aesthetic down through at least six generations to the present.[10] At one time scholars believed slaves sometimes utilized quilt blocks to alert other slaves about escape plans during the time of the Underground Railroad,[11] but most historians do not agree. Quilting remains alive as form of artistic expression in the African-American community. Post-Civil War After the Civil War, it became increasingly acceptable for African American-created works to be exhibited in museums, and artists increasingly produced works for this purpose. These were works mostly in the European romantic and classical traditions of landscapes and portraits. Edward Mitchell Bannister, Henry Ossawa Tanner and Edmonia Lewis are the most notable of this time. Others include Grafton Tyler Brown, Nelson A. Primus and Meta Vaux Warrick Fuller. The goal of widespread recognition across racial boundaries was first eased within America's big cities, including Philadelphia, Boston, Chicago, New York, and New Orleans. Even in these places, however, there were discriminatory limitations. Abroad, however, African Americans were much better received. In Europe — especially Paris, France — these artists could express much more freedom in experimentation and education concerning techniques outside traditional western art. Freedom of expression was much more prevalent in Paris as well as Munich and Rome to a lesser extent. The Harlem Renaissance to contemporary art Sand Dunes at Sunset, Atlantic City by Henry Ossawa Tanner is in the collection of the White House, and hangs in the Green Room. Acquired during the Clinton administration with funds from the White House Acquisition Trust, it is the first artwork in the White House by an African American. The Harlem Renaissance was one of the most notable movements in African-American art. Certain freedoms and ideas that were already widespread in many parts of the world at the time had begun to spread into the artistic communities United States during the 1920s. During this period notable artists included Richmond Barthé, Aaron Douglas, Lawrence Harris, Palmer Hayden, William H. Johnson, Sargent Johnson, John T. Biggers, Earle Wilton Richardson, Malvin Gray Johnson, Archibald Motley, Augusta Savage, Hale Woodruff, and photographer James Van Der Zee. The establishment of the Harmon Foundation by art patron William E. Harmon in 1922 sponsored many artists through its Harmon Award and annual exhibitions. As it did with many such endeavors, the 1929 Great Depression largely ended funding for the arts for a time. While the Harmon Foundation still existed in this period, its financial support toward artists ended. The Harmon Foundation, however, continued supporting artists until 1967 by mounting exhibitions and offering funding for developing artists such as Jacob Lawrence.[12] Midnight Golfer by Eugene J. Martin, mixed media collage on rag paper. Kara Walker, Cut, Cut paper and adhesive on wall, Brent Sikkema NYC. The US Treasury Department's Public Works of Art Project ineffectively attempted to provide support for artists in 1933. In 1935, President Franklin D. Roosevelt created the Works Progress Administration (WPA). The WPA provided for all American artists and proved especially helpful to African-American artists. Artists and writers both gained work that helped them survive the Depression. Among them were Jacob Lawrence and Richard Wright. Politics, human and social conditions all became the subjects of accepted art forms. Important cities with significant black populations and important African-American art circles included Philadelphia, Boston, San Francisco and Washington, D.C. The WPA led to a new wave of important black art professors. Mixed media, abstract art, cubism, and social realism became not only acceptable, but desirable. Artists of the WPA united to form the 1935 Harlem Artists Guild, which developed community art facilities in major cities. Leading forms of art included drawing, sculpture, printmaking, painting, pottery, quilting, weaving and photography. By 1939, the costly WPA and its projects all were terminated. In 1943, James A. Porter, a professor in the Department of Art at Howard University, wrote the first major text on African-American art and artists, Modern Negro Art. Mid-20th century In the 1950s and 1960s, few African-American artists were widely known or accepted. Despite this, The Highwaymen, a loose association of 26 African-American artists from Fort Pierce, Florida, created idyllic, quickly realized images of the Florida landscape and peddled some 200,000 of them from the trunks of their cars. In the 1950s and 1960s, it was impossible to find galleries interested in selling artworks by a group of unknown, self-taught African Americans,[13] so they sold their art directly to the public rather than through galleries and art agents. Rediscovered in the mid-1990s, today they are recognized as an important part of American folk history.[14][15] The current market price for an original Highwaymen painting can easily bring in thousands of dollars. In 2004 the original group of 26 Highwaymen were inducted into the Florida Artists Hall of Fame.[16] Currently 8 of the 26 are deceased, including A. Hair, H. Newton, Ellis and George Buckner, A. Moran, L. Roberts, Hezekiah Baker and most recently Johnny Daniels. The full list of 26 can be found in the Florida Artists Hall of Fame, as well as various highwaymen and Florida art websites. Jerry Harris, Dogon mother and child, constructed and carved wood with found objects, laminated clay (Bondo), and wooden dowels. After the Second World War, some artists took a global approach, working and exhibiting abroad, in Paris, and as the decade wore on, relocated gradually in other welcoming cities such as Copenhagen, Amsterdam, and Stockholm: Barbara Chase-Riboud, Edward Clark, Harvey Cropper, Beauford Delaney, Herbert Gentry,[17] Bill Hutson, Clifford Jackson,[18] Sam Middleton,[19] Larry Potter, Haywood Bill Rivers, Merton Simpson, and Walter Williams.[20][21] Some African-American artists did make it into important New York galleries by the 1950s and 1960s: Horace Pippin, Romare Bearden, Jacob Lawrence, William T. Williams, Norman Lewis, Thomas Sills,[22] and Sam Gilliam were among the few who had successfully been received in a gallery setting. The Civil Rights Movement of the 1960s and 1970s led artists to capture and express the times and changes. Galleries and community art centers developed for the purpose of displaying African-American art, and collegiate teaching positions were created by and for African-American artists. Some African-American women were also active in the feminist art movement in the 1970s. Faith Ringgold made work that featured black female subjects and that addressed the conjunction of racism and sexism in the U.S., while the collective Where We At (WWA) held exhibitions exclusively featuring the artwork of African-American women.[23] By the 1980s and 1990s, hip-hop graffiti became predominate in urban communities. Most major cities had developed museums devoted to African-American artists. The National Endowment for the Arts provided increasing support for these artists. Important collections of African-American art include the Walter O. Evans Collection of African American Art, the Paul R. Jones collections at the University of Delaware and University of Alabama, the David C. Driskell Art collection, the Harmon and Harriet Kelley Collection of African American Art, the Schomburg Center for Research in Black Culture, and the Mott-Warsh collection. Kara Walker, a contemporary American artist, is known for her exploration of race, gender, sexuality, violence and identity in her artworks. Walker's silhouette images work to bridge unfinished folklore in the Antebellum South and are reminiscent of the earlier work of Harriet Powers. Her nightmarish yet fantastical images incorporate a cinematic feel. In 2007, Walker was listed among Time Magazine's "100 Most Influential People in The World, Artists and Entertainers".[24] Textile artists are part of African-American art history. According to the 2010 Quilting in America industry survey, there are 1.6 million quilters in the United States.[25] Influential contemporary artists include Larry D. Alexander, Laylah Ali, Amalia Amaki, Emma Amos, Jean-Michel Basquiat, Dawoud Bey, Camille Billops, Mark Bradford, Edward Clark, Willie Cole, Robert Colescott, Louis Delsarte, David C. Driskell, Leonardo Drew, Mel Edwards, Ricardo Francis, Charles Gaines, Ellen Gallagher, Herbert Gentry, Sam Gilliam, David Hammons, Jerry Harris, Joseph Holston, Richard Hunt, Martha Jackson-Jarvis, Katie S. Mallory, M. Scott Johnson, Rashid Johnson, Joe Lewis, Glenn Ligon, James Little, Edward L. Loper, Sr., Alvin D. Loving, Kerry James Marshall, Eugene J. Martin, Richard Mayhew, Sam Middleton, Howard McCalebb, Charles McGill, Thaddeus Mosley, Sana Musasama, Senga Nengudi, Joe Overstreet, Martin Puryear, Adrian Piper, Howardena Pindell, Faith Ringgold, Gale Fulton Ross, Alison Saar, Betye Saar, John Solomon Sandridge, Raymond Saunders, John T. Scott, Joyce Scott, Gary Simmons, Lorna Simpson, Renee Stout, Kara Walker, Carrie Mae Weems, Stanley Whitney, William T. Williams, Jack Whitten, Fred Wilson, Richard Wyatt, Jr., Richard Yarde, and Purvis Young, Kehinde Wiley, Mickalene Thomas, Barkley Hendricks, Jeff Sonhouse, William Walker, Ellsworth Ausby, Che Baraka, Emmett Wigglesworth, Otto Neals, Dindga McCannon, Terry Dixon (artist), Frederick J. Brown, and many others. Artists Scipio Moorhead, Portrait of poet Phillis Wheatley, 1773, in the frontispiece to her book Poems on Various Subjects Edward Mitchell Bannister, Driving Home the Cows 1881 Harriet Powers, Bible quilt, mixed media, 1886 Henry Ossawa Tanner, Gateway, Tangier, 1912, oil on canvas, 18 7/16" × 15 5/16", St. Louis Art Museum Charles Alston, Again The Springboard Of Civilization, 1943 (WWII African American soldier) Larry D. Alexander,Greenville Courthouse, 1998 A–B Terry Adkins (1953–2014), artist[1] Mequitta Ahuja (born 1976), painter, installation artist Larry D. Alexander (born 1953), painter Laylah Ali (born 1968), painter Jules T. Allen (born 1947), photographer Tina Allen (1949–2008), sculptor Charles Alston (1907–1977), painter[2][1] Amalia Amaki (born 1959), artist Emma Amos (born 1938), painter[2] Benny Andrews (1930–2006), painter[2][1] Edgar Arceneaux (born 1972), drawing artist Radcliffe Bailey (born 1968) collage, sculpture[3][4] Kyle Baker (born 1965), cartoonist Matt Baker (1921–1959), comic book artist James Presley Ball (1825–1904), photographer Alvin Baltrop (1948-2004), photographer Henry Bannarn (1910–1965), painter[1] Edward Mitchell Bannister (1828–1901), painter[2][1] Ernie Barnes (1938–2009), neo-Mannerist artist[2] Richmond Barthé (1901–1989), sculptor[2][1] Jean-Michel Basquiat (1960–1988), painter[2] C. M. Battey (1873–1927), photographer Romare Bearden (1911–1988), painter[2][1] Arthello Beck (1941–2004), painter Arthur P. Bedou (1882–1966), photographer Darrin Bell (born 1975), cartoonist Mary A. Bell (1873–1941) Dawoud Bey (born 1953), photographer[2] John T. Biggers (1924–2001), muralist[2][1] Sanford Biggers (born 1970), interdisciplinary Gene Bilbrew (1923–1974), cartoonist and fetish artist McArthur Binion (born 1946), painter Robert Blackburn (1920–2003), printmaker[2][1] Thomas Blackshear Betty Blayton (born 1937), painter, printmaker[1] Chakaia Booker (born 1953), sculptor[2] Edythe Boone (born 1938), muralist Charles Boyce (born 1949), cartoonist Tina Williams Brewer, fiber artist[5] Michael Bramwell (born 1953), conceptual artist Mark Bradford (born 1961) Elenora "Rukiya" Brown, doll creator Frank J. Brown (born 1956), sculptor Frederick J. Brown (1945–2012), painter[2] Larry Poncho Brown Manuelita Brown, sculptor Robert Brown (c. 1936–2007), cartoonist Beverly Buchanan (born 1940), painter, sculptor[1] Selma Burke (1900–1995), sculptor[1] Calvin Burnett (1921–2007), book illustrator[1] Pauline Powell Burns (1872–1912), painter John Bush (? - 1754), powder horn carver Robert Butler (1943–2014), painter C–D Frank Calloway (born 1915) E. Simms Campbell (1906–1971), cartoonist[1] Fred Carter (born 1938), cartoonist Bernie Casey (born 1939), painter[1] Elizabeth Catlett (1915–2012), sculptor and printmaker[2][1] Nick Cave (born 1959), performance artist Michael Ray Charles (born 1967), painter[2] Barbara Chase-Riboud (born 1936), sculptor[1] Jamour Chames (born 1989), painter Don Hogan Charles (1938–2017), photographer Claude Clark (1915–2001), painter and printmaker[2] Edward Clark (born 1926), painter Sonya Clark (born 1967), textile and multimedia artist Willie Cole (born 1955), painter[2] Robert Colescott (1925–2009), painter[2] Kennard Copeland (born 1966), ceramic sculptures [2] Eldzier Cortor (1916–2015), artist and printmaker[1] Ernest Crichlow (1914–2005), social realist artist[1] Allan Crite (1910–2007), painter[2] [1] Emilio Cruz (1938–2004), painter[2] Frank E. Cummings III (born 1938), woodworker Michael Cummings (born 1945), textile artist Ulysses Davis (1913–1990), sculptor[2] Bing Davis (born 1937), potter and graphic artist[1] Roy DeCarava (1919–2009), photographer[2] Beauford Delaney (1901–1979), painter[6] Joseph Delaney (1904–1991)[2] Louis Delsarte (born 1944), artist[1] J Rodney Dennis[7][8] painter Joseph Clinton Devillis (1878-1912), painter Thornton Dial (1928–2016)[2] Terry Dixon (born 1969), painter and multimedia artist Jeff Donaldson (born 1932), painter and critic Aaron Douglas (1899–1979), painter[2][1] Emory Douglas (born 1943), Black Panther artist John E. Dowell Jr. (born 1941), printmaker, etcher, lithographer, and painter David C. Driskell (born 1931), artist and scholar Robert Scott Duncanson (1821–1872), Hudson River School[2][1] E–H William Edmondson (1874–1951), folk art sculptor[2][1] Mel Edwards (born 1937), sculptor[2][1] Walter Ellison (1899–1977), painter[2] Minnie Evans (1892–1987), folk artist[2] [1] Meta Vaux Warrick Fuller (1877–1968), artist[2][1] Ellen Gallagher (born 1965)[2] Theaster Gates (born 1973), sculptor, ceramicist, and performance artist [ Reginald K (Kevin) Gee (born 1964), painter Herbert Gentry (1919–2003), painter Wilda Gerideau-Squires (born 1946), photographer Robert A. Gilbert (c. 1870-1942), nature photographer[9] Leah Gilliam (born 1967), media artist and filmmaker Sam Gilliam (born 1933), painter[2] [1] Russell T. Gordon (born 1936), printmaker[2] Billy Graham (1935–1999), comic book artist Lonnie Graham, photographer and installation artist Deborah Grant (born 1968), painter Todd Gray (born 1954), photographer, installation and performance artist Leamon Green (born 1959) Renee Green (born 1959), installation artist[2] Mario Gully, comic book artist Tyree Guyton (born 1955)[2] Ed Hamilton (born 1947), sculptor Patrick Earl Hammie (born 1981), painter David Hammons (born 1943), artist[2] Trenton Doyle Hancock (born 1974)[2] Edwin Harleston (1882–1931), painter Elise Forrest Harleston (1891–1970), photographer Kira Lynn Harris (born 1963), multidisciplinary[10] John Wesley Hardrick (1891–1948), painter[2] [1] Jerry Harris (born 1945), sculptor Lawrence Harris, painter Marren Hassenger (born 1947), sculptor, installation, performance[11] Palmer Hayden (1893–1973), painter[2][1] Barkley Hendricks (1945–2017), painter George Herriman (1880–1944), cartoonist[2] Alvin Hollingsworth (1928–2000), illustrator, painter William Howard (active 19th century), American woodworker and craftsman Bryce Hudson (born 1979), painter, sculptor[2] Julien Hudson (1811–1844), painter, sculptor[2] David Huffman (born 1963), painter[12] Richard Hunt (born 1935), sculptor[2][1] Clementine Hunter (1886/7–1988), folk artist[2][1] J–O Steffani Jemison (born 1981), performance artist, video artist Wadsworth Jarrell (born 1929), painter, sculptor Annette P. Jimerson (born 1966), painter Joshua Johnson (c.1763–c.1824), portrait painter and folk artist[2][1] Malvin Gray Johnson (1896–1934), painter[1] Rashid Johnson (born 1977), conceptual artist Sargent Johnson (1888–1967), sculptor[2] [1] William H. Johnson (1902–1970)[2][1] Calvin B. Jones (1934–2010), painter, muralist Jennie C. Jones (born 1968), multidisciplinary Lois Mailou Jones (1905–1998), painter[2][1] Titus Kaphar (born 1976), painter[13] Gwendolyn Knight (1914–2005), artist[1] Jacob Lawrence (1917–2000), painter[2][1] Deana Lawson (born 1979), photographer[14] Hughie Lee-Smith (1915–1999), artist[2][1] Edmonia Lewis (c. 1843–1879), artist[2][1] Norman Lewis (1909–1979), painter[2][1] Glenn Ligon (born 1960), painter[2] Llanakila, artist, painter, digital illustrator, and digital artist Edward L. Loper, Sr. (1916–2011), painter Whitfield Lovell (born 1960), artist Alvin D. Loving (1935-2005) artist Gwendolyn Ann Magee (1943–2011), artist, quilter[15] Clarence Major (born 1936), painter Kerry James Marshall (born 1955), painter[2] Eugene J. Martin (1938–2005), painter Richard Mayhew (born 1934), Afro-Native American, landscape painter[16] Valerie Maynard (born 1937), sculptor, printmaker, painter Ealy Mays (born 1959), painter Howard McCalebb (born 1947), artist Corky McCoy, illustrator Charles McGee, (born 1924) painter Charles McGill (born 1964), artist, educator Julie Mehretu (born 1970), painter, printmaker Nicole Miller (born 1982), video artist Dean Mitchell (born 1957), painter Scipio Moorhead (active 1770s), painter[1] Archibald Motley (1891–1981), painter[2][1] Gus Nall (1919-1995), painter Harold Newton (1934–1994), artist Lorraine O'Grady (born 1934), conceptual artist Turtel Onli (born 1952), cartoonist Jackie Ormes (1911–1985), cartoonist John Outterbridge (born 1933), assemblage artist[2][1] Joe Overstreet (born 1933), artist[1] P–S Gordon Parks (1912–2006), photographer, director[2][1] Cecelia Pedescleaux (born 1945), quilter Delilah Pierce (1904–1992), artist Earle M. Pilgrim (1923–1976), artist Howardena Pindell (born 1943), painter[2] Jerry Pinkney (born 1939), illustrator[2] Adrian Piper (born 1948), conceptual artist[2] Rose Piper (1917–2005), painter and textile designer[17] Horace Pippin (1888–1946), painter[2][1] Rae Pleasant (born 1985), illustrator[18][19] P. H. Polk (1898–1984), photographer Carl Robert Pope (born 1961), photographer[2] William Pope.L (born 1955) conceptual artist Harriet Powers (1837–1910), folk artist[2] Martin Puryear (born 1941), sculptor[2][1] Patrick H. Reason (1816–1898) Earle Wilton Richardson (1912–1935), artist[1] Faith Ringgold (born 1930), painter[2][1] Haywood Rivers (1922–2001), painter Arthur Rose Sr. (1921–1995), multidisciplinary Bayeté Ross Smith (born 1976), photographer Alison Saar (born 1956), artist[2][1] Betye Saar (born 1926), artist[2][1] Charles Sallee (1923–2006), painter[2][20] Reginald Sanders (1921–2001), visual artist Raymond Saunders, painter[1] Augusta Savage (1892–1962), sculptor[2][1] John T. Scott (1940–2007), artist Joyce J. Scott (born 1948), sculptor[2] Lorenzo Scott (born 1934), painter William Edouard Scott (1884–1964), painter[2][1] Charles Sebree (1914–1985), painter[2][1] Ed Sherman (born 1945), photographer Thomas Sills (1914–2000), painter Gary Simmons (born 1964), artist Lorna Simpson (born 1960), artist[2] Merton Simpson (1928–2013), painter William Simpson (1818–1872), portrait painter[1] Cauleen Smith (born 1967), filmmaker Leslie Smith III (born 1985), painter Vincent D. Smith (1929–2003), painter and printmaker[21][22] Gilda Snowden (1954–2014)[2] Mitchell Squire (born 1958), American installation artist, sculptor and performance artist Raymond Steth (1916–1997)[2] Renee Stout (born 1958), artist[2] Martine Syms (born 1988), artist T–Z Henry Ossawa Tanner (1859–1937), artist[2][1] Margaret Taylor-Burroughs (1915–2010)[2][1] Alma Thomas (1891–1978), painter[2] [1] Hank Willis Thomas (born 1976), photographer Mickalene Thomas (born 1971), painter and installation artist Bob Thompson (1937–1966), painter[2][1] Mildred Thompson (1935–2003), abstract painter, printmaker and sculptor Dox Thrash (1892–1962), printmaker, sculptor[2] [1] Bill Traylor (1856–1949)[2][1] Henry Taylor (born 1958) painter Morrie Turner (1923–2014), cartoonist James Van Der Zee (1886–1983), photographer[2] [1] Kara Walker (born 1969), artist[2] [1] William Walker (1927–2011), Chicago muralist Laura Wheeler Waring (1887–1948), painter[2][1] E. M. Washington (born 1962), printmaker and counterfeiter James W. Washington, Jr. (1908–2000), painter and sculptor[1] Carrie Mae Weems (born 1953), photographer[2] Pheoris West Charles Wilbert White (1918–1979), muralist[2][1] Jack Whitten (1939-2018), painter Kehinde Wiley (born 1977), painter Gerald Williams (artist) (Born 1941) painter William T. Williams (born 1942), painter[1] Deborah Willis (born 1948), photographer Ellis Wilson (1899–1977), painter[2][1] Fred Wilson (born 1954), conceptual artist John Woodrow Wilson (1922–2015), sculptor[2][1] Beulah Woodard (1895–1955), sculptor Hale Woodruff (1900–1980), painter[2][1] Richard Wyatt, Jr., (born 1955), painter, muralist Richard Yarde (1939–2011), watercolorist Joseph Yoakum (1890–1972), self-taught landscape artist Purvis Young (1943–2010), artist Artist groups The Highwaymen AfriCOBRA Where We At National Conference of Artists Spiral (arts alliance) African-American topics African America History (timeline)[show] Culture[show] Religion[show] Political movements[show] Civic / economic groups[show] Sports[show] Ethnic subdivisions[show] Languages[show] Diaspora[show] Lists[show] Category: African-American society AmericaAfrica.svg African American portal vte This article needs additional citations for verification. 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(June 2007) (Learn how and when to remove this template message) The Black Arts Movement, Black Aesthetics Movement or BAM is the artistic outgrowth of the Black Power movement that was prominent in the 1960s and early 1970s.[1][2][3] Time magazine describes the Black Arts Movement as the "single most controversial movement in the history of African-American literature – possibly in American literature as a whole."[4] The Black Arts Repertory Theatre/School (BARTS), founded in Harlem in 1965 by LeRoi Jones (later known as Amiri Baraka) is a key institution of the Black Arts Movement.[5] Contents 1 Overview 1.1 Influence 2 History 2.1 Authors 2.2 Locations 3 The Black Aesthetic 4 Major works 4.1 Black Art 4.2 "The Revolutionary Theatre" 5 Effects on society 6 Associated writers and thinkers 7 Related exhibitions and conferences 8 See also 9 References 10 External links Overview The movement has been seen as one of the most important times in African-American literature. It inspired black people to establish their own publishing houses, magazines, journals and art institutions. It led to the creation of African-American Studies programs within universities.[6] The movement was triggered by the assassination of Malcolm X.[7] Among the well-known writers who were involved with the movement are Nikki Giovanni, Sonia Sanchez, Maya Angelou, Hoyt W. Fuller, and Rosa Guy.[8][9] Although not strictly part of the Movement, other notable African-American writers such as novelists Toni Morrison and Ishmael Reed share some of its artistic and thematic concerns. Although Reed is neither a movement apologist nor advocate, he said: I think what Black Arts did was inspire a whole lot of Black people to write. Moreover, there would be no multiculturalism movement without Black Arts. Latinos, Asian Americans, and others all say they began writing as a result of the example of the 1960s. Blacks gave the example that you don't have to assimilate. You could do your own thing, get into your own background, your own history, your own tradition and your own culture. I think the challenge is for cultural sovereignty and Black Arts struck a blow for that.[10] BAM influenced the world of literature with the portrayal of different ethnic voices. Before the movement, the literary canon lacked diversity, and the ability to express ideas from the point of view of racial and ethnic minorities, which was not valued by the mainstream at the time. Influence Theatre groups, poetry performances, music and dance were centered on this movement, and therefore African Americans gained social and historical recognition in the area of literature and arts. Due to the agency and credibility given, African Americans were also able to educate others through different types of expressions and media outlets about cultural differences. The most common form of teaching was through poetry reading. African-American performances were used for their own political advertisement, organization, and community issues. The Black Arts Movement was spread by the use of newspaper advertisements.[11] The first major arts movement publication was in 1964. "No one was more competent in [the] combination of the experimental and the vernacular than Amiri Baraka, whose volume Black Magic Poetry 1961–1967 (1969) is one of the finest products of the African-American creative energies of the 1960s."[4] History The beginnings of the Black Arts Movement may be traced to 1965, when Amiri Baraka, at that time still known as Leroi Jones, moved uptown to establish the Black Arts Repertory Theatre/School (BARTS) following the assassination of Malcolm X.[4] Rooted in the Nation of Islam, the Black Power Movement and the Civil Rights Movement, the Black Arts Movement grew out of a changing political and cultural climate in which Black artists attempted to create politically engaged work that explored the African American cultural and historical experience.[4] Black artists and intellectuals such as Baraka made it their project to reject older political, cultural, and artistic traditions.[12] Although the success of sit-ins and public demonstrations of the Black student movement in the 1960s may have "inspired black intellectuals, artists, and political activists to form politicized cultural groups,"[12] many Black Arts activists rejected the non-militant integrational ideologies of the Civil Rights Movement and instead favored those of the Black Liberation Struggle, which emphasized "self-determination through self-reliance and Black control of significant businesses, organization, agencies, and institutions."[13] According to the Academy of American Poets, "African American artists within the movement sought to create politically engaged work that explored the African American cultural and historical experience." The importance that the movement placed on Black autonomy is apparent through the creation of institutions such as the Black Arts Repertoire Theatre School (BARTS), created in the spring of 1964 by Baraka and other Black artists. The opening of BARTS in New York City often overshadow the growth of other radical Black Arts groups and institutions all over the United States. In fact, transgressional and international networks, those of various Left and nationalist (and Left nationalist) groups and their supports, existed far before the movement gained popularity.[12] Although the creation of BARTS did indeed catalyze the spread of other Black Arts institutions and the Black Arts movement across the nation, it was not solely responsible for the growth of the movement. Although the Black Arts Movement was a time filled with black success and artistic progress, the movement also faced social and racial ridicule. The leaders and artists involved called for Black Art to define itself and speak for itself from the security of its own institutions. For many of the contemporaries the idea that somehow black people could express themselves through institutions of their own creation and with ideas whose validity was confirmed by their own interests and measures was absurd.[14] While it is easy to assume that the movement began solely in the Northeast, it actually started out as "separate and distinct local initiatives across a wide geographic area," eventually coming together to form the broader national movement.[12] New York City is often referred to as the "birthplace" of the Black Arts Movement, because it was home to many revolutionary Black artists and activists. However, the geographical diversity of the movement opposes the misconception that New York (and Harlem, especially) was the primary site of the movement.[12] In its beginning states, the movement came together largely through printed media. Journals such as Liberator, The Crusader, and Freedomways created "a national community in which ideology and aesthetics were debated and a wide range of approaches to African-American artistic style and subject displayed."[12] These publications tied communities outside of large Black Arts centers to the movement and gave the general black public access to these sometimes exclusive circles. As a literary movement, Black Arts had its roots in groups such as the Umbra Workshop. Umbra (1962) was a collective of young Black writers based in Manhattan's Lower East Side; major members were writers Steve Cannon,[15] Tom Dent, Al Haynes, David Henderson, Calvin C. Hernton, Joe Johnson, Norman Pritchard, Lennox Raphael, Ishmael Reed, Lorenzo Thomas, James Thompson, Askia M. Touré (Roland Snellings; also a visual artist), Brenda Walcott, and musician-writer Archie Shepp. Touré, a major shaper of "cultural nationalism," directly influenced Jones. Along with Umbra writer Charles Patterson and Charles's brother, William Patterson, Touré joined Jones, Steve Young, and others at BARTS. Umbra, which produced Umbra Magazine, was the first post-civil rights Black literary group to make an impact as radical in the sense of establishing their own voice distinct from, and sometimes at odds with, the prevailing white literary establishment. The attempt to merge a black-oriented activist thrust with a primarily artistic orientation produced a classic split in Umbra between those who wanted to be activists and those who thought of themselves as primarily writers, though to some extent all members shared both views. Black writers have always had to face the issue of whether their work was primarily political or aesthetic. Moreover, Umbra itself had evolved out of similar circumstances: in 1960 a Black nationalist literary organization, On Guard for Freedom, had been founded on the Lower East Side by Calvin Hicks. Its members included Nannie and Walter Bowe, Harold Cruse (who was then working on The Crisis of the Negro Intellectual, 1967), Tom Dent, Rosa Guy, Joe Johnson, LeRoi Jones, and Sarah E. Wright, among others. On Guard was active in a famous protest at the United Nations of the American-sponsored Bay of Pigs Cuban invasion and was active in support of the Congolese liberation leader Patrice Lumumba. From On Guard, Dent, Johnson, and Walcott along with Hernton, Henderson, and Touré established Umbra. Authors Another formation of black writers at that time was the Harlem Writers Guild, led by John O. Killens, which included Maya Angelou, Jean Carey Bond, Rosa Guy, and Sarah Wright among others. But the Harlem Writers Guild focused on prose, primarily fiction, which did not have the mass appeal of poetry performed in the dynamic vernacular of the time. Poems could be built around anthems, chants, and political slogans, and thereby used in organizing work, which was not generally the case with novels and short stories. Moreover, the poets could and did publish themselves, whereas greater resources were needed to publish fiction. That Umbra was primarily poetry- and performance-oriented established a significant and classic characteristic of the movement's aesthetics. When Umbra split up, some members, led by Askia Touré and Al Haynes, moved to Harlem in late 1964 and formed the nationalist-oriented Uptown Writers Movement, which included poets Yusef Rahman, Keorapetse "Willie" Kgositsile from South Africa, and Larry Neal. Accompanied by young "New Music" musicians, they performed poetry all over Harlem. Members of this group joined LeRoi Jones in founding BARTS. Jones's move to Harlem was short-lived. In December 1965 he returned to his home, Newark (N.J.), and left BARTS in serious disarray. BARTS failed but the Black Arts center concept was irrepressible, mainly because the Black Arts movement was so closely aligned with the then-burgeoning Black Power movement. The mid-to-late 1960s was a period of intense revolutionary ferment. Beginning in 1964, rebellions in Harlem and Rochester, New York, initiated four years of long hot summers. Watts, Detroit, Newark, Cleveland, and many other cities went up in flames, culminating in nationwide explosions of resentment and anger following Martin Luther King, Jr.'s April 1968 assassination. Nathan Hare, author of The Black Anglo-Saxons (1965), was the founder of 1960s Black Studies. Expelled from Howard University, Hare moved to San Francisco State University, where the battle to establish a Black Studies department was waged during a five-month strike during the 1968–69 school year. As with the establishment of Black Arts, which included a range of forces, there was broad activity in the Bay Area around Black Studies, including efforts led by poet and professor Sarah Webster Fabio at Merrit College. The initial thrust of Black Arts ideological development came from the Revolutionary Action Movement (RAM), a national organization with a strong presence in New York City. Both Touré and Neal were members of RAM. After RAM, the major ideological force shaping the Black Arts movement was the US (as opposed to "them") organization led by Maulana Karenga. Also ideologically important was Elijah Muhammad's Chicago-based Nation of Islam. These three formations provided both style and conceptual direction for Black Arts artists, including those who were not members of these or any other political organization. Although the Black Arts Movement is often considered a New York-based movement, two of its three major forces were located outside New York City. Locations As the movement matured, the two major locations of Black Arts' ideological leadership, particularly for literary work, were California's Bay Area because of the Journal of Black Poetry and The Black Scholar, and the Chicago–Detroit axis because of Negro Digest/Black World and Third World Press in Chicago, and Broadside Press and Naomi Long Madgett's Lotus Press in Detroit. The only major Black Arts literary publications to come out of New York were the short-lived (six issues between 1969 and 1972) Black Theatre magazine, published by the New Lafayette Theatre, and Black Dialogue, which had actually started in San Francisco (1964–68) and relocated to New York (1969–72). Although the journals and writing of the movement greatly characterized its success, the movement placed a great deal of importance on collective oral and performance art. Public collective performances drew a lot of attention to the movement, and it was often easier to get an immediate response from a collective poetry reading, short play, or street performance than it was from individual performances.[12] The people involved in the Black Arts Movement used the arts as a way to liberate themselves. The movement served as a catalyst for many different ideas and cultures to come alive. This was a chance for African Americans to express themselves in a way that most would not have expected. In 1967 LeRoi Jones visited Karenga in Los Angeles and became an advocate of Karenga's philosophy of Kawaida. Kawaida, which produced the "Nguzo Saba" (seven principles), Kwanzaa, and an emphasis on African names, was a multifaceted, categorized activist philosophy. Jones also met Bobby Seale and Eldridge Cleaver and worked with a number of the founding members of the Black Panthers. Additionally, Askia Touré was a visiting professor at San Francisco State and was to become a leading (and long-lasting) poet as well as, arguably, the most influential poet-professor in the Black Arts movement. Playwright Ed Bullins and poet Marvin X had established Black Arts West, and Dingane Joe Goncalves had founded the Journal of Black Poetry (1966). This grouping of Ed Bullins, Dingane Joe Goncalves, LeRoi Jones, Sonia Sanchez, Askia M. Touré, and Marvin X became a major nucleus of Black Arts leadership.[16] As the movement grew, ideological conflicts arose and eventually became too great for the movement to continue to exist as a large, coherent collective. The Black Aesthetic Many discussions of the Black Arts movement posit it as the "aesthetic and spiritual sister of the Black Power concept."[17] The Black Aesthetic refers to ideologies and perspectives of art that center on Black culture and life. This Black Aesthetic encouraged the idea of Black separatism, and in trying to facilitate this, hoped to further strengthen black ideals, solidarity, and creativity.[18] In his well-known essay on the Black Arts Movement, Larry Neal attests: "When we speak of a 'Black aesthetic' several things are meant. First, we assume that there is already in existence the basis for such an aesthetic. Essentially, it consists of an African-American cultural tradition. But this aesthetic is finally, by implication, broader than that tradition. It encompasses most of the usable elements of the Third World culture. The motive behind the Black aesthetic is the destruction of the white thing, the destruction of white ideas, and white ways of looking at the world."[17] Major works Black Art Amiri Baraka's poem "Black Art" serves as one of his most controversial, yet poetically profound supplements to the Black Arts Movement. In this piece, Baraka merges politics with art, criticizing poems that are not useful to or adequately representative of the Black struggle. First published in 1966, a period particularly known for the Civil Rights Movement, the political aspect of this piece underscores the need for a concrete and artistic approach to the realistic nature involving racism and injustice. Serving as the recognized artistic component to and having roots in the Civil Rights Movement, the Black Arts Movement aims to grant a political voice to black artists (including poets, dramatists, writers, musicians, etc.). Playing a vital role in this movement, Baraka calls out what he considers to be unproductive and assimilatory actions shown by political leaders during the Civil Rights Movement. He describes prominent Black leaders as being "on the steps of the white house...kneeling between the sheriff's thighs negotiating coolly for his people."[19] Baraka also presents issues of euro-centric mentality, by referring to Elizabeth Taylor as a prototypical model in a society that influences perceptions of beauty, emphasizing its influence on individuals of white and black ancestry.[19] Baraka aims his message toward the Black community, with the purpose of coalescing African Americans into a unified movement, devoid of white influences. "Black Art" serves as a medium for expression meant to strengthen that solidarity and creativity, in terms of the Black Aesthetic. Baraka believes poems should "shoot…come at you, love what you are" and not succumb to mainstream desires.[19] He ties this approach into the emergence of hip-hop, which he paints as a movement that presents "live words…and live flesh and coursing blood."[19] Baraka's cathartic structure and aggressive tone are comparable to the beginnings of hip-hop music, which created controversy in the realm of mainstream acceptance, because of its "authentic, un-distilled, unmediated forms of contemporary black urban music."[20] Baraka believes that integration inherently takes away from the legitimacy of having a Black identity and Aesthetic in an anti-Black world. Through pure and unapologetic blackness, and with the absence of white influences, Baraka believes a black world can be achieved. Though hip-hop has been serving as a recognized salient musical form of the Black Aesthetic, a history of unproductive integration is seen across the spectrum of music, beginning with the emergence of a newly formed narrative in mainstream appeal in the 1950s. Much of Baraka's cynical disillusionment with unproductive integration can be drawn from the 50s, a period of rock and roll, in which "record labels actively sought to have white artists "cover" songs that were popular on the rhythm-and-blues charts"[20] originally performed by African-American artists. The problematic nature of unproductive integration is also exemplified by Run-DMC, an American hip-hop group founded in 1981, who became widely accepted after a calculated collaboration with the rock group Aerosmith on a remake of the latter's "Walk This Way" took place in 1986, evidently appealing to young white audiences.[20] Hip-hop emerged as an evolving genre of music that continuously challenged mainstream acceptance, most notably with the development of rap in the 1990s. A significant and modern example of this is Ice Cube, a well-known American rapper, songwriter, and actor, who introduced subgenre of hip-hop known as "gangsta rap," merged social consciousness and political expression with music. With the 1960s serving as a more blatantly racist period of time, Baraka notes the revolutionary nature of hip-hop, grounded in the unmodified expression through art. This method of expression in music parallels significantly with Baraka's ideals presented in "Black Art," focusing on poetry that is also productively and politically driven. "The Revolutionary Theatre" "The Revolutionary Theatre" is a 1965 essay by Baraka that was an important contribution to the Black Arts Movement, discussing the need for change through literature and theater arts. He says: "We will scream and cry, murder, run through the streets in agony, if it means some soul will be moved, moved to actual life understanding of what the world is, and what it ought to be." Baraka wrote his poetry, drama, fiction and essays in a way that would shock and awaken audiences to the political concerns of black Americans, which says much about what he was doing with this essay.[21] It also did not seem coincidental to him that Malcolm X and John F. Kennedy had been assassinated within a few years, since Baraka believed that every voice of change in America had been murdered, which led to the writing that would come out of the Black Arts Movement. In his essay, Baraka says: "The Revolutionary Theatre is shaped by the world, and moves to reshape the world, using as its force the natural force and perpetual vibrations of the mind in the world. We are history and desire, what we are, and what any experience can make us." With his thought-provoking ideals and references to a euro-centric society, he imposes the notion that black Americans should stray from a white aesthetic in order to find a black identity. In his essay, he says: "The popular white man's theatre like the popular white man's novel shows tired white lives, and the problems of eating white sugar, or else it herds bigcaboosed blondes onto huge stages in rhinestones and makes believe they are dancing or singing." This, having much to do with a white aesthetic, further proves what was popular in society and even what society had as an example of what everyone should aspire to be, like the "bigcaboosed blondes" that went "onto huge stages in rhinestones". Furthermore, these blondes made believe they were "dancing and singing" which Baraka seems to be implying that white people dancing is not what dancing is supposed to be at all. These allusions bring forth the question of where black Americans fit in the public eye. Baraka says: "We are preaching virtue and feeling, and a natural sense of the self in the world. All men live in the world, and the world ought to be a place for them to live." Baraka's essay challenges the idea that there is no space in politics or in society for black Americans to make a difference through different art forms that consist of, but are not limited to, poetry, song, dance, and art. Effects on society According to the Academy of American Poets, "many writers--Native Americans, Latinos/as, gays and lesbians, and younger generations of African Americans have acknowledged their debt to the Black Arts Movement."[4] The movement lasted for about a decade, through the mid-1960s and into the 1970s. This was a period of controversy and change in the world of literature. One major change came through in the portrayal of new ethnic voices in the United States. English-language literature, prior to the Black Arts Movement, was dominated by white authors.[22] African Americans became a greater presence not only in the field of literature but in all areas of the arts. Theater groups, poetry performances, music and dance were central to the movement. Through different forms of media, African Americans were able to educate others about the expression of cultural differences and viewpoints. In particular, black poetry readings allowed African Americans to use vernacular dialogues. This was shown in the Harlem Writers Guild, which included black writers such as Maya Angelou and Rosa Guy. These performances were used to express political slogans and as a tool for organization. Theater performances also were used to convey community issues and organizations. The theaters, as well as cultural centers, were based throughout America and were used for community meetings, study groups and film screenings. Newspapers were a major tool in spreading the Black Arts Movement. In 1964, Black Dialogue was published, making it the first major Arts movement publication. The Black Arts Movement, although short, is essential to the history of the United States. It spurred political activism and use of speech throughout every African-American community. It allowed African Americans the chance to express their voices in the mass media as well as become involved in communities. It can be argued that "the Black Arts movement produced some of the most exciting poetry, drama, dance, music, visual art, and fiction of the post-World War II United States" and that many important "post-Black artists" such as Toni Morrison, Ntozake Shange, Alice Walker, and August Wilson were shaped by the movement.[12] The Black Arts Movement also provided incentives for public funding of the arts and increased public support of various arts initiatives.[12] Associated writers and thinkers Don Evans Mari Evans Sarah Webster Fabio Hoyt W. Fuller Nikki Giovanni Rosa Guy Harlem Writers Guild David Henderson Audre Lorde Dudley Randall Sonia Sanchez Related exhibitions and conferences The Arts Council of England's (ACE) Decibel initiative produced a summary in 2003 in association with The Guardian newspaper.[23][24] An international exhibition, Back to Black — Art, Cinema and the Racial Imaginary, was held at the Whitechapel Gallery in 2005.[25] A 2006 major conference Should Black Art Still Be Beautiful?, organized by OOM Gallery and Midwest, examined the development of contemporary Black cultural practice and its future in Britain. On April 1, 2006, New Art Gallery, Walsall, UK, held a conference in honour of the late Donald Rodney. Gallery 32 and Its Circle, a 2009 art exhibition hosted at Loyola Mount University's Laband Art Gallery,[26] featured artwork displayed the eponymous gallery, which featured black artists in the Los Angeles area and played an integral role in the Black Arts movement in the area.[27] A recently redeveloped African and Asian Visual Arts Archive is located at the University of East London (UEL).[28] While African American art of the 18th and 19th centuries continued to reflect African artistic traditions, the earliest fine art made by professional African American artists was in an academic Western style. Among the leading black sculptors of the 19th century were Eugene Warbourg and Mary Edmonia Lewis, the first professional African American sculptor. The most distinguished African American artist who worked in the 19th century was Henry Ossawa Tanner, who painted African American genre subjects and reflects the realist tradition. In the early 20th century, the most important aesthetic movement in African American art was the Harlem Renaissance or the ‘New Negro’ movement of the 1920s. The Harlem district of New York became the ‘cultural capital of black America’. Practicing in New York, Stuart Davis was heavily influenced by African American culture and jazz music, though he was not an African American. Aaron Douglas consciously incorporated African imagery into his work. The most important African American photographer of that period was James Van Der Zee, who photographed people and scenes in Harlem for more than 50 years. During and immediately after World War II there arose to prominence a new school of African American artists, many of whom were the so-called ‘children of the Harlem Renaissance’. During the 1950s African American art was dominated by Abstract Expressionism and realism; their significant practitioners included Charles Alston, Romare Bearden and James Wells. In the 1960s and 1970s new classifications appeared in African American art based on continuing developments in abstract art and the rise of the figurative style known as Black Expressionism. The most prominent African American abstract painter was Sam Gilliam, based in Washington, DC. Martin Puryear emerged during the 1980s as a leading African American abstract sculptor. In the 1980s African American art was the subject of a number of pioneering exhibitions, such as Black Art—Ancestral Legacy: The African Impulse in African American Art (Dallas Museum of Art, 1989), that brought together the works of African, Caribbean and African American academic and folk artists. Today’s artists, such as Kara Walker and Fred Wilson, continue to grapple with the complex issues of African American history and identity in contemporary visual art.
  • Size: Large (up to 60in.)
  • Region of Origin: US
  • Artist: Torres, John, Jr. (Bronx, NY, 1939-VA 2001)
  • Listed By: Dealer or Reseller
  • Medium: acrylic and oil on canvas
  • Date of Creation: 1970-1989
  • Features: Framed, Signed
  • Width (Inches): 30.4
  • Subject: Singer
  • Originality: Original
  • Height (Inches): 41.25

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