Resale
Medium: Linocut
Edition: 7/12
Dimensions: 24″ x 15″ (framed)
Year: 1986
Signed: ECatlett 86 (lower right)
Condition: Excellent
Provenance: Gina Harris
Price: contact gallery
Resale
Medium: Lithograph
Edition: EE 66/100
Dimensions: 13.5″ x 19.25″
Year: 1958
Condition: Excellent
Provenance: Dr. Lois Jordan, TN
Price: contact gallery
Resale
Medium: Lithograph
Edition: EE 66/100
Dimensions: 13.75″ x 19.25″
Year: 1971
Condition: Excellent
Provenance: Dr. Lois Jordan, TN
Price: contact gallery
Exhibitions
Consumption: Food as Paradox examines how food is inextricably linked to the social, political and economic aspects of life—class, culture, race, religion, gender and health. A baker’s dozen of contemporary artists, working in paint, collage, porcelain and printmaking, explore food and its connection to the world around them.
about the exhibition | artists
Consumption: Food as Paradox examines how food is inextricably linked to the social, political and economic aspects of life—class, culture, race, religion, gender and health. A baker’s dozen of contemporary artists, working in paint, collage, porcelain and printmaking, explore food and its connection to the world around them.
Food is enjoyable and accompanies a lifetime of celebrations. Sharing the tastes of our individual homes and homelands can be a way to cross divides between classifications of people—relating to others over a foodway can lead to greater cultural understanding and empathy. But that can also be displaced by tremendous anxiety. Passing down traditional recipes can morph from intergenerational connections to memories of slaves who worked in the kitchen and the continuation of the domestic sphere forced on women. Images of watermelon and berries evoke racial tropes. Adorable animals in TV dinners remind usof the flesh that we consume, but obscure with words like ‘meat,’ ‘beef’ and ‘pork.’ And piles of this meatreveal gluttonous men who treat women with a similar desire for consumption.
Food can be made holy, blasphemous or banal based on the religion, class and race that it is tied to. How can we know what arbiters of taste and health we can trust? Foods are alternately villainized and sainted—their status constantly in flux, depending upon a variety of mysterious government agencies and corporations. We are a nation obsessed with dieting but plagued by illnesses resulting from the ways food affects our bodies. The artists of Consumption investigate these concerns, propose questions to ask, actions to take and, occasionally, offer a view of a future that is healthier in body and cross-cultural relations.
Matthew Adelberg
S. Ross Browne
Anna U Davis
Dave Eassa
Roberto Guerra
Christi Harris
Sue Johnson
Jeffrey Kent
Delita Martin
Arvie Smith
Christina St. Clair
Eric Telfort
Stephen Towns
Artist
artwork | statement | bio | resume
His work, exploring familial and socio-political themes through the lens of West African myth and lore, has been exhibited at the ArtAfrica Fair and Prizm Art Fair during Art Basel, the David Castillo Gallery and the Miami International Airport, all in Miami, and the African American Museum of the Arts in Deland, Florida.
Artist
artwork | statement | bio | resume
My artwork is a critique of destructive, economic power dynamics within urban communities. I have chosen to use a tobacco company that holds a 78 percent market share within the black community as a demonstrative and metaphoric example of the economic forces that profit from destruction within the community. Design elements derived from West African bocio sculptures are used to compose images of power objects, as a means of empowerment and change.
Advertisements for the tobacco company that are aimed at the urban communities are ritually cut and sutured as a way of illustrating the will to overturn present power dynamics and create new ones. Ubiquitous, discarded cigarette boxes are incorporated as a way to invoke the presence of community members as consumers. My work also refers to neoclassical busts, previously used to link the Caucasoid ethnographic type to power. The use of imitation of black granite and marble busts operates as a signifier for identity. Assembled, these elements operate as power objects to aid in the shedding of what Kenyan writer, Ngũgĩ wa Thiong’o called the “colonized mind.
artwork: Amazon Ochossi, Mixed media, 2013
Artist
Ronald Jackson grew up in a farming family in the rural Arkansas Delta and was the youngest of eleven siblings. From an early age, his preoccupation for being creative was apparent to all that knew him.
In 1988, Jackson moved to California immediately after high school, and started an Architectural Design program at Mission Viejo College. It was there that he took his one and only art class, which introduced him to oil painting. He became intrigued by the local Laguna Beach art scene. He eventually withdrew from the Architectural program, got married and joined the U.S. Army in 1992. In joining the Army, life took a turn for a new set of experiences and a series of challenging adventures. He maintained an interest in art, but mostly by observing the artwork of others.
In 2001, halfway through his military career, Jackson had an epiphany that inspired him to consider a post-military career as an artist and painter. However, he realized that he needed much development, and that there was little to no opportunity to attend art school while serving abroad. He therefore read, researched and studied all he could in order to experience significant growth as he worked towards improving his skill; while at the same time, managing multiple military deployments and frequent training exercises.
In 2010, he entered his first exhibition in a regional show, juried by Jennifer Glave Kocen of Glave Kocen Gallery and received the Best of Show award, marking the beginning of the public recognition of his work. In 2011, Jackson had his first solo exhibition at the Libertytown Arts Workshop, in which he displayed a series of works that included over forty paintings. In 2013, he returned to Libertytown for a second show which included nearly fifty new works. During time spent abroad, Jackson received an invitation to participate in a group exhibition titled “The Nude Collection” at Gallery Golmok in Seoul Korea. In February 2014, he gave his third solo exhibition at the Elegba Folklore Society in Richmond, VA, as part of collaboration with the Virginia Museum of
Fine Arts (VMFA). The exhibition addressed the themes of race, place, and identity through the arts. In 2014, Jackson was one of sixty artists to exhibit their work in Emergence 2014: International Artists to Watch at Galerie Myrtis in Baltimore, MD.
Jackson makes a point to present people of color in his work. Having a broad interest in various styles of art, his work sometimes blurs between fine art and illustration. He is inspired and influenced by contemporary artist such as Lucian Freud, Kent Williams, and Kerry James Marshall.
In May 2014, Jackson retired from the Army after 21 years of service.
Artist
Life is a continual experience of discovery. Contrasting things that are apparent or taught with personal discoveries creates a perspective that is unique to every individual.
Being mainly a figurative artist, I seek to capture intimate settings to use as a gateway to ponder the complexities of the human experience, as well as the society that influences them. A comprehensive catalog of unique experiences is veiled behind every silent gaze of the human expression. In my work, the figure’s environment gives suggestion to what some of those experiences may be. My goal is to create work that is visually poetic, aiming to create an interactive experience in which the viewer is compelled to ponder possibilities that are reflections of their own experiences. I hope that my work can become a catalyst to trigger for the self-discovery of value, beauty, and significance among people who feel marginalized.
As a self-taught artist and painter, I find the process of manipulating paint on the canvas as being more critical than the materialization of the image. The practice of studying design and composition influences me to alter reality which can add a mystical quality to my work. It is my desire to master the element of mood and emotion rather than mastering the painting of objects. Every application and technique discovered adds depth to my artistic voice, increasing my capacity to communicate in both direct and subtle fashion.
For me, the overwhelming appeal of creating art is its legacy quality. The idea of being able to paint years beyond retirement age and having a lifetime’s body of work representing my time on earth is priceless.
Arrival: Outside her door the world stood still, awaiting her arrival, 2024
Oil, acrylic and colored pencil on canvas
72 x 66 ″
