Those Things Between Us Acrylic, Charcoal, Relief Printing, Decorative Papers, Hand-Stitching, 70.5" x 52" (unframed), 2018
Those Things Between Us (detail), Acrylic, Charcoal, Relief Printing, Decorative Papers, Hand-Stitching, 70.5" x 52" (unframed), 2018
My Sister's Keeper, Gelatin Printing, Acrylic, Relief, Conte, Decorative Papers, Hand-Stitching, 52" x 42" (unframed), 2017
If Spirits Danced, Gelatin Printing, Acrylic, Relief, Conte, Decorative Papers, Hand-Stitching, Stabilo Pencil, 52" x 42" (unframed), 2017
Believing In Kings, Acrylic, Charcoal, Relief Printing, Decorative Papers, Hand-Stitching, Liquid Gold Leaf, 71.5" x 51" (unframed), 2018
Another Kind of Blues, Acrylic, Charcoal, Decorative Papers, Hand-Stitching, Liquid Gold Leaf, 71.5" x 51" (unframed), 2018
The Moon and the Little Bird
Acrylic, Charcoal, Gelatin Printing, Collagraph Printing, Relief Printing, Decorative Papers, Hand-Stitching, Liquid Gold Leaf
102H 79W in (unframed)
2018
Sons and Saints, Acrylic, Charcoal, Relief printing, Decorative papers, Hand-stitching, 48"x 49 3/8", 2018
The Place that Binds Us Acrylic, Charcoal, Gelatin Printing, Collagraph Printing, Relief Printing, Decorative Papers, Hand-Stitching, 71 3/8” x 48” (unframed), 2018
Witness of Light, Mixed Media Monoprint, 25 ½” x 33”, 2014
Portrait #6 (Louise), Woodcut, Collage and Hand‐stitching, 30” x 22”, 2015
Portrait #4 (Jannie), Woodcut, Collage and Hand‐stitching, 30" x 22", 2015
Blue Dress and Colored Dreams, Gelatin printing, acrylic, hand-stitching and conte, 84" x 53", 2015
Delita Martin is an artist currently based in Huffman, Texas. She received a BFA in drawing from Texas Southern University and an MFA in printmaking from Purdue University. Formerly a member of the Fine Arts faculty at the University of Arkansas at Little Rock, Martin currently works as a full-time artist in her studio, Black Box Press.
Working from oral traditions, vintage and family photographs as a source of inspiration, Martin’s work explores the power of the narrative impulse. Her process of layering various printmaking, drawing, sewing collaging and painting techniques allow her to create portrait that fuse the real and the fantastic. In her work, she combines signs and symbols to create visual language. By fusing this visual language with oral storytelling, she offers other identities and other narratives for women of color.
Martin’s work has been exhibited both nationally and internationally. Most recently, Martin’s work was included in State of the Arts: Discovering American Art Now, an exhibition that included 101 artists from around the United States. She was also included in the International Review of African American Art as one of 16 African American artists to watch, as they are gaining national and international attention in 2015.
Wherever two or three women are gathered together, there is the spirit and authority of Sande.”
-Mende belief
“-Women create Sande on the spot where they group together, sharing with one another, excluding men. This space is defined by privacy and secrecy- Women together in their womanhood, in a free exchange of words and actions among sisters -This is Sande.”
-Sylvia Ardyn Boone
Radiance From The Waters: Ideals of Feminine Beauty in Mende Art
The duality of women in this body of work project the spirit and its connection to the physical world, which reinforces the bond amongst women and how they co- exist in the physical and spiritual realms. The mask seen in the work are my interpretation of the Mende mask, specifically created for young girls being initiated into Sande. These masks are created as a reminder that human beings have a dual existence viewed as one body.
In this work, I am also exploring the different signs and symbols that help define the space the women reside in. In my previous works, the backgrounds communicated a specific sign, symbol, or icon to assist the viewer in their conversation with the work. Those signs and symbols helped define the perspective of the image. This body of work transitions the women and their place of residence into a spiritual realm, where the symbolism is less defined, the shapes are more organic, and the icons are left for the viewer to ponder and creating a space for the women to be birthed into.
Image: Where the Blue Begins, Acrylic, Charcoal, Callograph Printing, Decorative Papers, Hand-Stitching, 68 5/8” x 51 ¾” (unframed), 2018
Exhibition Dates: November 10, 2018 – February 2, 2019 Opening Reception: November 10th, 2:00 – 4:00 pm Artist’s Talk: January 19th, from 4:00 – 6:00 pm Film Screening: January 20th, 2:00 pm Daughters of the Dust – Parkway Theater, Baltimore, MD
Galerie Myrtis is pleased to present its first solo exhibition of works by Delita Martin. In Between Spirits and Sisters, Martin offers mixed media works that explore womanhood inspired by the Mende belief “Wherever two or three women are gathered together, there is the spirit and authority of Sande.”
Delita Martin states, “the duality of women in this body of work project the spirit and its connection to the physical world, which reinforces the bond amongst women and how they co-exist in the physical and spiritual realms. The mask seen in the work is my interpretation of the Mende mask, specifically created for young girls being initiated into Sande. These masks are created as a reminder that human beings have a dual existence viewed as one body.” Delita’s bio
Martin’s work is in the collections of the David Driskell Center, College Park, MD; Crystal Bridges Museum, Bentonville, AR; Minnesota Institute of Art, Minneapolis, MN; Petrucci Family Foundation Collection of African American Art, Asbury, NJ; U.S.
Embassy of Nouakchott, Mauritania; and William J. Clinton
Presidential Library and Museum, Little Rock, AK
Featured Artists (year of membership)
Akili Ron Anderson (1979), Kevin Cole (2003), Adger Cowans (1978), Michael D. Harris (1979), Napoleon Jones-Henderson (founding member, 1968), James Phillips (1973), Frank Smith (1973), Nelson Stevens (founding member, 1968), and Renee Stout (2017)
Drawing from the tenets of the Black Power Movement, and the philosophical concepts and aesthetic principals of AfriCOBRA—works emerging from the collective captured the ethos of the black community. Through their imagery, rendered in a palette of “Kool-aid” colors, developed a black iconography rooted in African ancestry and black pride; and a lexicon, as in the term “mimesis at midpoint” to describe their artistic approach. These expressions, couched in idioms, such as, “the rich lustre of a just-washed ‘Fro” formed a vernacular that defines cultural nuances of the black experience. Myrtis Bedolla, Curator
Akili Ron Anderson
Sankofa Woman, 2016
Acrylic on canvas
30 x 24 inches
Akili Ron Anderson
Tree of Life, 1999
Colored Pencil, Ink, and Metallic Paint on Paper
37" x 30.5"
Kevin Cole
Do Lord Remember Me, III, 2009
Mixed Media, 31" x 108 "x 24"
Kevin Cole
Do Lord Remember Me, V, 2009
Etched Aluminum, 25" x 109" x 28"
Kevin Cole
Guidance with Grace I, 2014
Mixed media on wood
18 x 60 x 7 inches
Kevin Cole
When Burdens are Lifted, 2017
Etched Aluminum 15" x 24" x 17"
Adger Cowan
To Market, 2014
Acrylic on rag paper
17 x 44 inches
Adger Cowans
Strolling, 2014
Acrylic on Rag Paper, 17" x 44"
Adger Cowans
2 in One (Janus Painting, side 1), 2018
Acrylic on Canvas, 20" x 20"
Adger Cowans
2 in One (Janus Painting, side 2), 2018
Acrylic on Canvas, 20" x 20"
Akili Ron Anderson
Untitled V, 2010
Oil and Water Based Monoprint, 30" x 22
Akili Ron Anderson
Middle Passage, (Provenance: Louis Ford Collection), 1986-99
Colored Pencil, Ink, and Metallic Paint on Paper, 24" x 31", (Request Viewing)
Michael Harris
Penance for Oshun, 2004
Archival Digital Media, 30" x 20"
Michael Harris
Mothers and the Presence of Myth, 1994
Offset Lithograph, 30" x 22"
Michael Harris
Origins ’53, 2002
Archival digital print
Edition no: 32/40
9 x 12 inches (unframed)
Michael Harris
Barbados Family Tree, 2009
Collaged photos, beads, drips of acrylic, shells, hand written Amharic text, and bits of metal drip from the tree, 34" x 42"
Napoleon Jones-Henderson
Ain't Nobody Nothin Without God, 1999
Enamel on copper on mahogany wood
39 x 39 x 2 inches
Napoleon Jones-Henderson
Three Graces…, 2004-07
Colored Pencil, Variegated Lead, 32" x 24"
Napoleon Jones-Henderson
Txai,1994
Lithograph an Gold Ink, 30" x 22"
James Phillips
Ghost of our Ancestors, #2: Ju Ju Series, 2017
Acrylic on Paper, 34" x 40"
James Phillips
Ghosts of our Ancestor, #1: Ju Ju Series, 2017
Acrylic on Paper, 34" x 40"
James Phillips
Juju Revisited, 2016-17
Acrylic on Paper, 40.5” x 34”
James Phillips
Klan Nightmare: Ju Ju Revisited Series, 2018
Acrylic on paper
40 x 40 inches
Frank Smith
Discard and Dat Card: Race Card Series, 2007
Mixed media collage on paper
27 ½ x 23 ½ inches
Provenance: Louis Ford Collection
Frank Smith
Eyes Always Seen (Provenance: Jennifer Harris Collection), 2009 Acrylic, Paper, and Textiles on Paper, 16" x 17"
Frank Smith
So We Too Cool (Provenance: Mimi Wolford Collection), Unknown
Acrylic on wood panel, 41" x 31"
Nelson Stevens
Sister Mine: Sister Will You Stand With Me Series, 1994
Acrylic on Board, 36" x 30"
Nelson Stevens
Booker T. in Tuskegee, 1979
Acrylic on Board, 40" x 30"
Nelson Stevens
Imani Impulse, 1980
Silkscreen, 38" x 26"
Nelson Stevens
2 B Wanted, 1996
Acrylic and colored pencil on Arches Rives Paper, 22" x 30"
Nelson Stevens
And His Name Is, 1995
Colored pencil and acrylic on black arches rives paper
43½ x 53¾ inches
Renee Stout
The Time She Saw too Much, 2010
Acrylic, oil paint, colored pencil and collage on wood panel
36 x 36 inches
Renee Stout
Red Room at Five (Portfolio of 6 cibachrome prints), 1997-1999
A portfolio of 6 Cibachrome photographs, 5" x 6"
Renee Stout
Legba and the Pearl Ground, 2015
Acrylic paint and mixed media on paper, 19" x 24"
Solo Exhibition: Ronald Jackson
June 30th – July 28, 2018
Myrtis presents its first solo exhibition of works by painter Ronald Jackson. Profiles of Color III: Fabric, Face, and Form is the third iteration of portrait paintings in which Jackson employs mixed media collage techniques and oil paint to further his exploration in re-imagining African American portraiture. Vivid hues, geometric shapes, and rich fabrics result in dramatic renderings of faces – some with floral masks, engulfed in bursts of color offering fanciful narratives from his imagination.
Art of the Collectors VI explores the role of the collector in preserving culture and building legacy through art collecting and giving. Featured are works created by prominent and lesser known artists, along with African art. Offerings include a rare drawing by John Biggers, paintings, original prints, and sculptures held in private hands for generations, and important works of art from institution holdings.
Tea with Myrtis – Panel Discussion Topic: Discussion concerning issues that govern transferring art collections to family members and donating art to museums and universities. Panelist’s: Alvah T. Beander, Melanin Art Appraisals, LLC • Berrisford Boothe, Principal Curator, Petrucci Family Foundation Collection of African-American Art • J. Larry Frazier, Attorney for Wills, Estates & Probate Law • Myrtis Bedolla, Founding Director, Galerie Myrtis watch panel discussion
Artwork
John Biggers, I Momolu, Conte on paper, 1965, 19"H x 14"W, $6,000 Reserve (price subject to verification), Bell-Reid Collection
Elizabeth Catlett, The Family, Bronze on Wood, Sculpture: 15” Wooden base:
h. 2” x 5 ½” x 5”, (contact gallery for pricing), 2002, Kansas African American Museum
Louis Delsarte, Heaven's Gate, Watercolor and acrylic on paper, 1968, 36"H x 26"W (framed), $2,700.00 (price subject to verification), Davis Collection
Adolphus Ealey, Untitled (Floral - Still Life), Watercolor on paper, N.D., 31"H x 24 1/2"W (framed), $5,000, (price subject to verification), Evanson Collection gift from Adolphus Ealey, Barnett/Aden Gallery
Delilah Pierce, Long Bridge – D.C. and Virginia, Oil on Masonite, 18 ¾” x 48” framed, $12,000, (price subject to verification), Spence Collection
Delilah Pierce, Vineyard Haven Harbor Massachusetts, Acrylic on Board, 23 ½” x 20” framed, $8950, (price subject to verification), 1957, Spence Collection
Delilah Pierce, Untitled (flower pot), Acrylic on Board 24” x 20” framed, $7000, (price subject to verification), 1957, Spence Collection
Delilah Pierce, Untitled (Sailboats and a Lighthouse), Watercolor on paper 16” x 20 ¾” framed, $3500, (price subject to verification), 1951, Spence Collection
Delilah Pierce, Untitled (fishing boat) Watercolor on paper, 16” x 20 ¾” framed, $3500, (price subject to verification), 1949, Spence Collection
Lucille Malkia Roberts, Wharf Maine Ave, Oil on Masonite Board, 32.5 x 23 in. n/d, $3500, (price subject to verification), Brooks Estate
Frank Smith, Discard and Dat Card- Race Card Series, Mixed media collage on paper 2007, 27.5"H x 23.5"W, $3,000.00, (price subject to verification), Ford Collection
Frank Smith, Eyes Always Seen, Mixed media, 2009, 16"H x 17"W, $2,900.00, (price subject to verification), Harris Collection
Benny Andrews, Glider, Lithograph, 1991, 116 of 275, 35 1/2"H x 27 1/2"W (framed), $1,500.00 (price subject to verification), Smith Collection
Out Chorus, ed. 59/60, 1979-80, Romare Bearden (1911–1988), Serigraph with Hand-Colored border, 22”x29 ¾” framed, $10,000.00 (price subject to verification),
Bell-Reid Collection
Camille Billops, Untitled (Mammy's little Coal Black Rose series), Lithograph, 6/100, 36” x 27” framed, $1500 (price subject to verification), 1992, Smith Collection
Elizabeth Catlett, Survivor, Linocut, 830/1000, 20” x 17” framed, $2000 ( price subject to verification), 1983, Harris Collection
Elizabeth Catlett, Mother and Son, Offset lithograph, EE 66/100, 11.5 x 15.5 in. framed, $1500 (price subject to verification), 1971, Jordan Collection
Elizabeth Catlett, Girl Jumping Rope, Lithograph, EE 66/100, 13.75 x 19.25 in. (framed), $2500 (price subject to verification), 1958, Jordan Collection
Ernest Crichlow, Stone Princess, request viewing, Screenprint, 1982, 64 of 100 30"H x 20"W (unframed), $3,000.00 (price subject to verification), Derby Collection
Ernest Crichlow, Lady in Yellow Color, etching and aquatint, 47/100, 21.75 x 16.75 in. unframed, $3,500 (price subject to verification)1982, Derby Collection
Ernest Crichlow, Young Worker, Color Etching and Aquatint, 9/20, 23 7/8” x 17 ¾” unframed, $4,500 (price subject to verification)1974, Bell-Reid Collection
Louis Delsarte, Enlightenment, Lithograph, A/P, 17 x 41 in. framed, 1976, $1850 (price subject to verification), Davis Collection
Ray George, Untitled, Offset Lithograph 1991, 8 of 80, 33 1/2”H x 25 ½”W, $950.00 (price subject to verification), Smith Collection
On the Way, 1990, Jacob Lawrence (1917-2000), Lithograph, 40”x29 ½” framed, $4900 (price subject to verification), Bell-Reid Collection
Valerie Maynard, Fulani Lady, Linocut, unknown A/P, 30 1/4"H x 23"W, $2,000.00 (price subject to verification), Lynch Collection
Francisco Mora, (Husband of Elizabeth Catlett), Untitled, Linocut, ca. 1940-50's, 16 1/2"H x 16 1/2"W (framed), $550.00 (price subject to verification), Lynch Collection
Stephanie Pogue, Caught in the Wind, Color viscosity etching, 5/50, 34 ½” H x 27 ½”W (framed), $850.00 (price subject to verification), 1978, Pogue Collection
Stephanie Pogue, Paris Skylight Color, viscosity and collagraph, 33 1/4"H x 40 1/2"W (framed), $950.00 (price subject to verification), 1984, Pogue Collection
Stephanie Pogue, Chameleon, Color viscosity etching, 1987, A/P 31"H x 25"W (framed), $950 (price subject to verification), Pogue Collection
Featured Artists (year of membership)
Akili Ron Anderson (1979), Kevin Cole (2003), Adger Cowans (1978), Michael D. Harris (1979), Napoleon Jones-Henderson (founding member, 1968), James Phillips (1973), Frank Smith (1973), Nelson Stevens (founding member, 1968), and Renee Stout (2017)
Galerie Myrtis Fine Art presents AfriCOBRA: The Evolution of a Movement in celebration of the 50th anniversary of the coalition of black revolutionary artists whose aesthetic emerged from activism and a commitment to rail against racism through positive, powerful and uplifting imagery.
AfriCOBRA (African Commune for Bad Relevant Artists) was inspired by the Black Arts Movement, to expand the canon by creating artwork that speaks to the concerns of black people. In exploring the evolution of their creativity, this exhibition features paintings, photographs, prints, and three-dimensional forms created from 1979 to 2018, by the group’s earliest to its latest members.
Birthed during the height of the Civil Rights Movement, AfriCOBRA shaped a radical black aesthetic that asserted black empowerment, self-determination, and unity among African Diasporic people. The artists’ collective was conceived in 1968, on the South Side of Chicago, by founding members, Jeff Donaldson (1932-2004), Wadsworth Jarrell (b. 1929) and Gerald Williams (b. 1941) who formed the nucleus of the group. As socially and politically conscious artists, they sought to counter white supremacist representations with positive black imagery, presented symbolically and rhythmically to uplift the soul of a nation.
Drawing from the tenets of the Black Power Movement, and the philosophical concepts and aesthetic principals of AfriCOBRA—works emerging from the collective captured the ethos of the black community. Through their imagery, rendered in a palette of “Kool-aid” colors, developed a black iconography rooted in African ancestry and black pride; and a lexicon, as in the term “mimesis at midpoint” to describe their artistic approach. These expressions, couched in idioms, such as, “the rich lustre of a just-washed ‘Fro” formed a vernacular that defines cultural nuances of the black experience. Myrtis Bedolla, Curator
These three works, The God Seed, Factualism, and Dark Matter represent a subtle shift in my practice. I’ve shifted away from the struggles, both historical and present, of Black Americans, to their beauty and greatness – an aspect of our people given less prominence than deserved. I feel it’s important to be unapologetic prideful in who you are. This something Black people in America have not been encouraged to do, when seemingly at every turn there’s a force aimed at silencing and oppressing that spirit of pride.
I chose to use the human heart painted Black as a means of representing the Black body. The heart being the core of the body, the drum whose rhythm keeps us moving while Black Americans are the cultural, spiritual, and biological vanguard. The God Seed depicts the biological, giving us a black heart as the nucleus with golden barbed wire as electrons. This speaks to the origins of civilization as we know it; with all roots leading to Africa. While science has proven every human carries DNA strands of the Black woman, we know it takes two to populate – making the Black woman and man the Mother and Father of civilizations. (It would almost seem the Black man is intentionally left out of the equation).
Dark Matter takes us to the astrological tying in cultural and spiritual ties. In science dark Matter is both theoretical, and invisible as it does not reflect light, yet helps to explain things like gravitational forces. These invisible forces I place correlation to that of “soul” – the style and movements of Black men in particular. From the music we’ve created, to how we style our clothing, to the way we strut down a sidewalk, our soul is magnetic. It is an attracting force people worldwide gravitate toward with hopes to bask in the feeling and replicate for themselves. This desire to be entangled in our soulfulness I interpret almost as a form of worship. Dark Matter is presented to the viewer as a salvaged relic-like object—broken and missing pieces yet preserved and placed on display for all to see. The rusted and broken hinges give the sense that this three-part panel was once connected, possibly unfolding from the center, offering a visual presence reminiscent of alters in catholic churches.
Factualism is simply a meditation on whom and what Black men truly are. It is meant as the antithesis of what pop culture and the news m/entertainment media present us as. It’s an exercise in defining oneself and taking hold of one’s own agency. It’s the presentation of another set of facts not often put on display. The words and ideas are given to the viewer in the form of a crossword puzzle to help think about how these ideas intersect and build off one another, giving viewers a new set of images to aid contextualizing their thoughts on Black men.
Larry Cook
Face-Off (I and II) explores the notion of selfhood embedded in black male identity. Each image uses light and shadow as a metaphor for the black male psyche and its many contrasting elements. The self-reflective arrangement of the figure promotes the viewer to re-examine standards of portrait photography. The subjects represent not only themselves, but also the ideological beliefs and cultural exteriors within manhood, which can unite or divide our community.
Do For Self and The Call pay homage to black liberation philosophies that arose out of organizations such as the Nation of Islam and the Moorish Science Temple. Each work references a sector of Black trade and industry that is a part of our cultural memory. In Do For Self, oil based colognes signify vendor customs established within the black community. In The Call, a reproduction of the Nation of Islam’s weekly The Final Call observes that recordings of personal histories within black community can equate to economic independence, self-worth, and empowerment.
Johnnie Lee Gray
In “The Revolution” series Johnnie Lee Gray depicts “the brutality that protesters experienced during the large-scale marches in the South, when marchers were beaten, maimed and killed by armed police and attack dogs. In this before-and-after series, the artist shows a fictional street corner in an urban Southern neighborhood and alludes to the outcome as no more than an “illusion of equality,” since “Bubba,” a euphemism for “the white man,” still owns all the property.”
“Johnnie Lee Gray’s Paintings in the Context of Jim Crow” Book title: Rising Above Jim Crow: The Paintings of Johnnie Lee Gray. Published by New York Life. Excerpt from essay written by Gwen Everett, PH.D.
Arvie Smith
“Change the Joke and Slip the Yoke”, Ralph Ellison
The exhibition Black Man in a Black World couldn’t be more timely, when demonstrations of bigotry and hate are assigned the moral equivalency of people fighting for human dignity, equality and justice for all members of the human family. African Americans and all marginalized people need to be heard, recorded and acknowledged for what they have endured, for their significance, and for their strength. Through my paintings I consider historical and contemporary truths attempting to reveal the dignity, endurance, and genius of African Americans hoping to evoke dialogue and reflection on implicit bias and resulting perpetrated injustices committed towards people of color in this country.
In this body of work, it is my intent to “flip” the role of the Black Man from the degradation of subservience to the triumphant role of hero using images traditionally assigned to white males.
The Fighter exemplifies the Black Man’s clash against oppression, degradation and exploitation. The daily assaults and dog whistle status reminders requires nothing less than emotional resistance, determination and resilience.
Minstrel’s Guide this black harlequin harks back to the 1500s as he moves into the viewer’s space to then morph into the minstrel of the 1800-1900s. Minstrels were derogatory characterizations, created by the dominant culture as entertainment to ridicule blacks after the Civil War.
Sampson Brings Down the House recalls the biblical image of a white curly locked Sampson tearing down the temple. Here it is flipped, showing a Black Sampson tearing down the house of injustice. It is my intent to show the strength and prowess of the Black Man in overcoming enormous odds.
Push Back depicts the strong Black male pushing back against racism, bigotry, hatred, inequities, prejudice, discrimination, white supremacy, etc., etc…..
Strange Tale is based on the mythology of Europa and Jupiter, here used to represent the “peculiar institution” of slavery and its aftermath.
The work Sampson and the Lion is based on the biblical story of Sampson slaying the lion that roared against him, flipped here to show a strong Black Sampson combating oppression.
Eric Telfort
Eric Telfort creates work exploring the concept of simulation-based creativity in poverty. Crackers and the Eucharist is a satirical take on his Catholic childhood experience.
Growing up we feared for our lives. Dropping the wafers or chewing too fast would result in going to hell, so we would impersonate Jesus distributing the holy wafers, to practice receiving the Eucharist correctly. Ritz crackers were usually the practice food of choice to simulate the daunting experience, not to mention they were addictive. Since Jesus was white, according to Catholic imagery, a shirt was always used as a wig to help sell the idea of flowing hair.