Emergence 2014 Submission Process

Emergence 2014: International Artists to Watch


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Submission Process
 

  1. Pay $20 Submission Fee.
  2. After submitting payment, email image(s) of Artwork, link(s) to Short Film and Documents to emergence2014@galeriemyrtis.com
    Note: Entries considered only upon receipt of payment.
  3. Artist may submit no more than 6 images and/or 3 short films.
  4.  
    Artwork
    • File Labeling – files must be titled with the number corresponding to the image list, followed by the artist’s last name and title of artwork.

    Example: 1-Brown-skyblue.jpg
     
    • Files must be in jpg, tiff or png format with a maximum file size of 2 mb. Note: If your artwork is selected for the catalog we may request a print quality image file.
     
    • Include an Image Sheet with a thumbnail print of the artwork. Beside each thumbnail include entry number, artist’s last name and title.
     
    Short Film
    • Provide link for full length viewing of short film(s). Duration limited to 15 per minutes per film or less.
     
    • Include Reference Sheet with entry number, artist’s last name, title and duration.
     
    Documents
    • Artist’s Statement
    • Biography
    • Resume
    • Image Sheet
    • Reference Sheet

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Call to Artists

About the Jurors

About Galerie Myrtis
 
 
pay-submission-fee-orange-20
 
Submission Period:
March 1 – June 15, 2014
 
*Acceptance Notification:
no later than: July 15, 2014
 
* Upon acceptance artist will receive the Exhibition Agreement.

In and Outsiders About the Artists

National Aquarium in Baltimore, Edition no: 32/75, Screenprint, (image: courtesy Steven Scott Gallery), 19' x 34', 1994
National Aquarium in Baltimore, 1994, Edition no: 32/75, Screenprint, (image: courtesy Steven Scott Gallery)

The In and Outsiders

view the exhibition | watch artists’ talk
 

photo source: thelyfe.wordpress.com/category/artists
photo source: thelyfe.wordpress.com/category/artists
Tom Miller (1945-2000) made an indelible mark on the city of Baltimore before his passing in June 2000 through his murals, painted furniture and print making. He was born Thomas Patton Miller on October 13, 1945 and was raised in the Sandtown neighborhood in Baltimore with his five siblings. His father, Clarence was a tailor and his mother, Frances was a housewife.

During his high school years, Tom attended Carver Vocational High School (1963) and went on to earned a scholarship to the Maryland Institute College of Art where he received both his Bachelor of Fine Arts (1967) and Master of Fine Arts (1987) degrees, subsequently retiring from teaching after 20 years in the Baltimore City School system to become a full-time artist. He was influenced by black artists such as Jacob Lawrence and Aaron Douglas, evidenced in his use of flat color shapes, and the writings of Langston Hughes. He also drew inspiration from patterns analogous to those found in traditional American quilt-making.

Miller was commissioned by the Mayor’s Advisory Committee on Arts and Culture to create six murals from 1991-1998. Of them five remain, and are a testament to his creative genius. They continue to bring beauty in the midst of blithe. The murals grace the walls of buildings in Baltimore’s inner city and are themed around racial pride and the concerns of the black community. The artist used brightly colored and at times whimsical figures to conveying messages of hope and self-determination.

In one of his most powerful murals, Miller depicts a black silhouetted man with a muscular physique wearing a white T-shirt. The black figure, surrounded by an exotic setting, is seated on a yellow sand beach holding a book. Above him is a bright blue sky with a white puffy cloud. There is a tall flower which towers over him and he is joined by a curious bird who sits perched by his side. On the pages is an African proverb: “However far the streams flows it never forgets its source.” Here the artist sought to inspire young men, and of this mural he commented “I wanted to say a person could travel and expand his mind through reading.” And there’s the more subtle message “that you can’t be a strong African American male — or any male for that matter — without being literate.”

Miller gained a reputation as being one of the most renowned contemporary artists of Baltimore. He distinguished himself though his self-described style of “Afro-Deco” painted furniture pieces. Tom recycled old objects, tables, chairs, cabinets and bookcases in his art furniture making. He used color and pattern, statement, satire, and whimsy in an African American vernacular where he cleverly fought against racial stereotyping; and in doing so, created an iconographic system of his own. Miller’s objects, both utilitarian and works of art possess iconic images of animal motifs, Aunt Jemimas, pink flamingos, fruits, birds, palm trees, and watermelons juxtaposed with black faces to address social injustices using humor and wit.

In contextualizing Miller’s painted furniture in a 1991 essay, Lowery Sims, then curator of the Metropolitan Museum of Art draws parallels between the artist’s work and Dahomey textiles, 18th century French furniture makers and 19th century African Americans “who successfully created a synthesis of African decoration and European cabinetry”. Sims suggests these elements are evidenced in Miller’s art furniture making. Lowery Sims, Ph.D. is currently curator for the Museum of Arts and Design in New York.

Traditions unique to Baltimore’s African American community were the themes of Miller’s 1994 screen prints. In “Summer in Baltimore” located at 1339 E. North Avenue, he depicts a black arabber with horse-drawn cart selling watermelon. In the shadow sits the Washington Monument and a patron who peers hungrily from a window awaiting a bite of the delicious fruit. In its companion screen print “Maryland Crab Fest”, Miller draws from his African roots as he portrays a family gathering. Seated around a table covered with crabs is a young man wearing a kufi cap, he is joined by another donning a Malcolm X T-shirt, and a girl with “big Baltimore hair” inspired by traditional African braiding. Other family members and animals join the feast as music blares from a boom box.

In 1996, the National Aquarium in Baltimore commissioned Miller to create what would be his final screen print titled “The National Aquarium in Baltimore. In it, the artist depicts school groups and families of all ethnicities visiting the national treasure. The imagery is filled with joy, conveying the artist’s affinity for the aquarium which was one of his favorite places in the city.

Miller became one of the first African American artists from Baltimore to be granted a one-man show at the Baltimore Museum of Art in 1995. His work has also been featured in group exhibitions at the Smithsonian Renwick Gallery, Washington, DC; American Craft Museum, New York; Studio Museum in Harlem, New York; and Contemporary Art Centers in New Orleans, Louisiana and Cincinnati, Ohio.

His works are in the permanent collections of the Academy Art Museum, Easton, Maryland; and Baltimore Museum of Art, Baltimore; Maryland Historical Society; Reginald F. Lewis Museum of Baltimore, Maryland; and the University of Maryland University College in College Park, Maryland.

On June 23, 2000, Miller died at the age of 54 after an 11 year battle with AIDS at The Joseph Richey Hospice in Baltimore. He will always be remembered for his beautiful art, wit and charming personality.

References:
Adams, Eric. “Neo-Romanticism on Display at Steven Scott.” The Sun. Baltimore, MD. 24 May 1991.
Dorsey, John. “Veneer of Humor Covers Furniture of Tom Miller.” The Sun. Baltimore, MD. 12 May 1993.
Dorsey, John. “A Showcase of Black Art.” The Sun. Baltimore, MD. 23 January 1990.
Sims, Lowery. “Tom Miller’s Afro-Deco.” Exhibition Essay, Steven Scott Gallery, Baltimore, MD. Nov. 1991.
Murphy, Eilleen. “Tom Miller Obituary.” City Paper. Baltimore, MD. 28 Jun 2000.



Andy Pigatt_head shotAndy Pigatt (1928-2009) was born in Raeford, North Carolina, October 20, 1928. He received vocational training in general woodworking and carpentry at George Washington Carver High School. Pigatt served in the United States Army in 1950-55; studied cabinetmaking on the G.I. Bill after leaving the military; and apprenticed under James W. Leach, Baltimore, Maryland in refinishing and repairing period antique furniture.

Pigatt performed free-lance work in New York after 1963, working for firms such as Worldwide Antiques, Leonard’s Antique Gallery, Knapp and Seigal Antiques, et al. Restoration experience includes work on Chippendale, Jacobean, Sheraton, Queen Anne and other types of collections.

Anderson launched his sculpture career late in 1960’s. A self-taught sculptor, his work is represented in a number of private and institutional collections.

“Nigger Chained” a seminal work is in the permanent collection of the Schomberg Center for Research in Black Culture in New York. Other sculptures are in the Brooklyn Museum, Brooklyn, New York; Reginald F. Lewis Museum, Baltimore, MD; and the American Visionary Art Museum, Baltimore, MD.

Pigatt participated in exhibitions sponsored by the American Federation of Fine Arts, the Urban Center of Columbia University, the Harlem Council and Bell Telephone Company. From December, 1967-1976, his work was exhibited in such venues as the Empire State Building, Observation Tower, New York, NY; The Pam Am Building, New York, NY; the Brooklyn Museum, New York, NY; Columbia University, New York, NY; Elma Lewis School of Fine Art, Dorchester, MA; University of Florida, Gainesville, FL; Milliken University, Decatur, IL; Reading Public Museum and Art Gallery, Reading, PA; University of Wisconsin, Milwaukee, WI; and the Illinois State Museum, Springfield, IL.

Significant exhibitions include: “Black New Artists of the 20th Century: Selections from the Schomburg Center Collections”, 1970; traveling exhibitions “New Black Artists”, 1971 and “Black Art – Ancestral Legacy: The African Impulse in African-American Art”, 1989-91.

Anderson’s work was favorable reviewed and commented upon by such notables as John Canady of The New York Times on October 8, 1969, with a headline stating “Sculpture Is Strength of ‘New Black Artists’ Show” and Robert Taylor of the Boston Globe on November 22, 1973 with the headline “Anderson Pigatt’s sculpture seen in ‘Speaking Spirits’”. Other comments and accolades come from correspondence from Thomas W. Leavitt, Director of the Herbert f. Johnson Museum of Art at Cornell University, Joseph V. Noble, Vice Director for Administration at the Metropolitan Museum of Art in New York, and Dr. Robert Bishop, Director of Museum of American Folk Art in New York.

Mr. Pigatt was selected to participate in the exhibition and publication, Black Art Ancestral Legacy, sponsored by the Dallas Museum of Art, which showed at the High Museum in Atlanta, the Milwaukee Art Museum, and the Virginia Museum of Fine Art in Richmond. His work has been purchased by such notables as Singer Richie Havens, artists Andy Warhol and John Biggers.


Elizabeth Scott-250x250Elizabeth T. Scott (1916-2011)grew up in Chester, South Carolina, the sixth of fourteen children. There were seven brothers and seven sisters. Her father sharecropped the land where her grandparents had lived as slaves. “He was a sharecropper and we were sharecroopper’s children. Victims,” she says. The tradition of quilting was an integral part of the rural black American experience. Elizabeth’s mother and father quilted. At the age of nine, she began her first quilt and has since developed into an extraordinary artist. Her images not only ellicit rememberances of Africans’ past but evoke new visual traditions in the display of bright colors, complex pattern, animals, buttons, rocks, and “monsters” that grace the stitched surface of her quilts.

Elizabeth T. Scott provides the annals of history with a critical challenge to address the aesthetic contributions of blacks in the New World. More importantly, she presents us with the aesthetic continuity of deep-seated traditions, practiced over generations of time through the linkage of the extended family. We have few records of the African-American families who had active and continuous histories of involvement in the plastic arts; the creative energies of Scott and her family have prevailed where others have yet to be discovered.

Scott practiced her art until 1940, when she moved to Baltimore and ceased to make quilts on a regular basis. Through the constant encouragement of her daughter and her friends, Scott began to quilt again in the mid-1970s. She developed a remarkable body of work and began to exhibit her quilts in conjunction with the work of her daughter, Joyce Jane Scott, a mixed media-performance artist, at Gallery 409 in Baltimore and the Art Gallery of the University of Maryland at College Park. Scott worked relentlessly, and as she produced more quilts, she was invited to teach and lecture at colleges, universities, recreation centers, special workshops, and senior citizens’ groups throughout the state of Maryland. She was asked to exhibit and lecture at the Metropolitan Museum of Art, the Studio Museum in Harlem, the Smithsonian Instutition’s Folk Life, Festival, as well as at numerous galleries along the east coast from New York City to Washington, DC.

Scott worked intermittently on that first quilt, begun at the age of nine, for fifty years–hence its title, the Fifty Year Quilt. Her mother, Mamie, took an active interest in Scott’s selection of cloths and colors; at one point, Scott recalls, her mother made her remove a square from the lower right corner because it was too bright. The Fifty Year Quilt is embellished with embroidery and stitchery that form images and symbols of flowers, stars, and animals.

The Plantation Quilt, one of a new series completed in 1979, is conceived from a double perspective. The stars, which are placed almost randomly across the surface, approximate their positions in the sky on a clear evening, just as they might have been seen by women who sat out on their porches sewing and piecing after a long, hard day of work. The stitches under the star pattern take on the contours of a farm, with rows of stitching standing in for the rows of crops. “That’s the way the fields were surveyed off,” Scott explains. “Every corner had to be filled. There were no leavings, no spots in the field. The fields had to be finished.”

-excerpted from the WCA Honor Awards Program of the National Women’s Caucus for Art Conference, Boston, MA, February 10-13, 1987

The In and Outsiders

National Aquarium in Baltimore, Edition no: 32/75, Screenprint, (image: courtesy Steven Scott Gallery), 19' x 34', 1994
National Aquarium in Baltimore, 1994, Edition no: 32/75, Screenprint, (image: courtesy Steven Scott Gallery)

The In and Outsiders

February 8 – March 30, 2014

about the artist | watch artists’ talk

The In and Outsiders explores formally trained artist Thomas (Tom) Miller’s (1945-2000) brightly colored “Afro-Deco” painted furniture pieces and silkscreen prints, and self-taught artists Anderson (Andy) Pigatt’s (1928-2009) evocative sculptures and Elizabeth T. Scott’s (1916-2011) richly embellished quilts. Their works are inspired by folklore, imagination and memory, woven around material cultural and social commentary and rooted in the deep-seated tradition of storytelling through art making.
Myrtis Bedolla, Curator

Artwork

Artists Lovers Exploring the Muse Leslie King-Hammond and Jose…

Artists Lovers: Exploring the Muse

a journey into the domain of the visual and literary arts world of creative couples


October 27 – December 15, 2013

Opening Reception:
Sunday, October 27, 2013
2:00pm – 6:00pm
about the exhibition

Artists’ Talk – Tea with Myrtis Art Salon
Saturday, November 16, 2013
2:00pm – 4:00pm
SOLD OUT

Artists Lovers:
Maya Freelon Asante and M. K. Asante
Carol Beane and Michael Platt
Leslie King-Hammond and Jose Mapily

 

 
Leslie King-Hammond and Jose Mapily
Leslie King-Hammond and Jose Mapily

 
Leslie King-Hammond was born in the South Bronx and grew up in South Jamaica and Hollis-Queens, New York and was educated in the New York City public education system. She won a full stipend-tuition scholarship awarded under the SEEK Grant (Search for Education, Evaluation, and Knowledge) at the City University of New York, Queens College (BFA degree, 1966-69). In 1973, she began to teach art history courses at Maryland Institute College of Art (MICA). In 1976, she completed her Ph.D. and was appointed Dean of Graduate Studies at MICA. In 2008, she retired to become Graduate Dean Emerita and was appointed the Founding Director of the new Center for Race and Culture at MICA.

Major exhibitions and publications include Celebrations: Three Generations of African American Women Sculptors: A Study in Paradox; Vice President and essayist for the Jacob Lawrence Catalog Riasonné Project, Over the Line: The Art and Life of Jacob Lawrence (University of Washington Press, 2000); Sugar and Spice: The Art of Bettye Saar (Michael Rosenfeld Gallery, 2003); Aminah Robinson: Aesthetic Realities/Artistic Vision in The Art of Aminah Robinson (Columbus Museum of Art, 2003); and Inner Being/Altered States: Painting the Life-Worlds of Beverly McIver’s Realities in The Many Faces of Beverly McIver (40 Acres Gallery, 2004). Most recently was her book, Hughie Lee-Smith, (2010) Pomegranate Press
 
Jose Mapily was born on August 13, 1941 in Washington, D.C. Mapily attended and graduated from Howard University in 1965, earning his B.A. degree in architecture. In 1972, Mapily earned his M.A. degree in city and regional planning, also from Howard University.

Mapily has also begun a career as an artist. His artwork can be described as gridlike paintings made out of white dots on a dark ground that resemble schematic drawings of buildings or circuit diagrams for electrical components. Mapily’s artwork appeared at the Gala Auction Exhibition at the WPA/Corcoran Gallery of Art in Washington, D.C.

Ancient Traditions – Contemporary Forms Artist Bios

 African American • Karo Courtship by Lisa Green African American • Karo Courtship by Lisa Green

Ancient Traditions – Contemporary Forms

The Embassy of the Republic of Ghana, Washington, DC
October 1 – October 31, 2004

exhibition | artist bios | exhibition catalogue

Artist Bios – American

JENITA LANDRUM-BITTLES received BA in Studio and BFA in Drawing from Arizona State University in Tempe, Arizona. Her MFA from Ohio State University in Columbus, Ohio where she mastered painting and was selected fellow for Residences at Skowhegan School of Painting and Sculpture in New York and in Maine. She is currently the exhibition Director and Art Instructor at Ohio University in Athens, Ohio.

Bittles is the recipient of several fellowships and public commissions, and her works have been shown in over forty exhibitions in Ghana, Dallas, Chicago, Arizona, Indiana, Kentucky, Iowa and Michigan. The Columbus Dispatch, Maine Daily News, Dialogue Magazine, The Call and Post, Toledo Blade and Lima news, among many others have reviewed her artwork.

WESLEY CLARK received a BA in Painting from Syracuse University. At Syracuse, Wesley was introduced to various mediums ranging from painting, metal-smithing, photography and crochet. His prodigious talent and diversified training have blossomed into endless possibilities of artistic expression, which manifests in multifarious moods and environments. Wesley’s budding career has proliferated into creative and poignant artworks, which stir the soul and move the mind.

Clark has exhibited his work at the National Black Fine Arts Show and Pratt Institute in New York, and participated in solo and group exhibitions in Maryland and Washington, D.C.

KEINA ELSWICK DAVIS earned a BA from the University of Florida, in Gainesville. She is a recent recipient of Individual Artist Grants from the Puffin Foundation (2004), the San Francisco Arts Commission (2003) and the George Sugarman Foundation (2003). Keina was nominated for the Visions from the New California Award for the 2004 cycle; given by the James Irvine Foundation in conjunction with The Alliance of Artists Communities and is a semi-finalist in the Sotheby’s 2004 International ArtLink.

She has been featured in several publications including African American Review, San Francisco Chronicle, Dysonna Magazine, Yush Magazine UK , B.E.T’ Sponsored Digital Drum Magazine, African Voices, Luv 4 Art Magazine. Her work is also featured in the book entitled: Regeneration:Telling Stories From our Twenties, which was released in January 2003 by Penguin-Putnam Books, NYC.

Davis’ most recent exhibitions/events include solo shows at the San Francisco African American Museum, Portfolio Gallery in St. Louis, Missouri. Her most recent group exhibits include Of Color at Harvard University (Cambridge), Wild Women 2: Telling Tales at the Fetterly Gallery Vallejo, California. Davis’ work was included in the 5th International Open, curated by internationally recognized artist Faith Ringgold. Her work was promoted at the Musee’ Dapper in Paris, at Bojangles, an exhibit/event sponsored by Cafe de la Soul and MGM Television Group France.

TIM DAVIS received his MFA from the University of Illinois, where he studied with artists Frank Gallo and Bill Carlson. In 1979, he was awarded an Academic Fellowship from the University of Illinois. Tim was then honored by the National Endowment for the Arts with an Arts Management Fellowship in 1984. He has continued to work for the arts in the Washington metropolitan area as a consultant with the D.C. Commission on the Arts and Humanities, D.C. Art Works Murals Project, Council on Foundations, and Arlington County Arts and Planning Commission.
He is the owner and director of International Visions Gallery, LLC, which represents artists from all over the world. He has over ten years of experience in arts researching, arts consulting, and teaching the arts.

As a painter, his focus has been to utilize themes that represent the changing conditions of the human spirit and the interactions of relationships between people. The colors are very intense, creating a mysterious environment within the painting and for the viewer. He describes his work as “a personal understanding of life, and the struggles of being a live on earth in this space and time.” He explores transparent imagery, 3-D textures, and multiple layering of paint in his compositions. Davis has exhibited widely in Chicago and in the Washington, D.C. area; he has many paintings in private and corporate collections.

JOSHUA ISSAC obtained a BA in Fine Arts from the Maryland Institute, College of Art, in Baltimore MD, where he vigorously studied illustration, fine art, and video and audio production.

His is inspired by the world around him. Spending most of his childhood immersed in the urban landscapes of Baltimore and Washington D.C.’s inner cities, he was always either observing or rendering his immediate surroundings. To this day urban city life remains as the primary focus in his artwork. Joshua sees endless possibilities in the stimulation gained from these contemporary environments. The scenes and their components run the range from serious to humorous. Exploring these familiar visages and locations, he whimsically documents his perceptions of their progression, or regression in the midst of social and political confines.

He is currently working in the Graphic Arts department at HUD, and doing freelance illustration work to keep his creative juices flowing. His artwork has been exhibited at the D.C. Art Center, Duke Ellington School of the Arts, and the Maryland Institute College of Art.

GINA LEWIS is currently enrolled at Howard University in Washington, D.C. where she is completing her MFA. She uses her ability to achieve a saturated harmony of strong color, while creating dynamic images that often explore the use of cross-cultural symbolism.

Her current work explores the relationship between her creative process, cultural paradigms and the development of a visual vocabulary through mixed media painting and three- dimensional structures. Personal experience, eclectic spiritual influences, family history and cultural heritage are the basis for a narrative through primarily figurative works of art. Lewis has participated in solo and group exhibitions in Washington, D.C. and Maryland.

JONATHAN PINKETT is a native Philadelphian who studied at Pennsylvania State University in Philadelphia and Antioch College in Yellowspring, Ohio and the Philadelphia College of Art in Pennsylvania.

Through his work, Jonathan expresses the many personalities of “everyday people.” The primary direction of his work is portraiture, and he chooses contemporary and traditional images from Afro-American history and everyday life to express a positive vision of the subjects he selects.

Pinkett’s artworks have been exhibited in galleries in New York, Philadelphia, Maryland and Washington, D.C. and at the Philadephia Museum of Art. His works can be found in the corporate collections of Blue Cross, CBS KYW, Marriott Corporation, National Academy of Sciences, Smith Kline Beechman and in the private collections of President Nelson Mandela, President and Mrs. Bill Clinton, Johnny Cochran, Esq. and Pam Schriver.

MICHAEL PLATT earned a BA from the Columbus College of Art and Design in Columbus, Ohio and a MFA from Howard University in Washington, D.C. He has conducted post graduate studies at George Washington University and Howard University in Washington, D.C., and Hartford University in Connecticut and at the Rutger’s Center for Innovative Printmakers Workshop in New Brunswick, New Jersey.

His most recent body of work concentrates on digital images and artist books which center on ideas of imagined ritual and transformation of the human spirit. In addition, he has collaborated with poet Carol Anne Beane to create two artist books, forgotten contours (2001) and solitary mornings (2004). These images and poems are fragments, along with newspaper articles, old family photographs and TV news, that come together to form a particular image of what kind of people we are serving as glimpses of our human condition.

Platt is the recipient of the 15th Mayor’s Arts Award for Excellence in Artistic Discipline: Visual Art in Washington, D.C. and the Artist-In-Residency programs at Pyramid Atlantic, Bob Blackburn’s The Printmaking Workshop, Rutger’s Center for Creative Printmakers Fellowship Grant Program and the Brandywine Workshop.
His artworks have been exhibited in museums and galleries in Washington, D.C., Maryland, Virginia, France, Greece, Rome and Slovenia.

SANDRA POPE received her arts education at Bay State College in Boston, Massachusetts and at Montgomery College, Rockville, Maryland. The last born of eleven children, she comes from an artistic family – her grandfather was a basket weaver and her mother is a seamstress.

Primarily a ceramist and painter in a variety of mediums, such as oil, acrylic, watercolor, charcoal and her latest invention pastel on beeswax, she is also a sculptor and printmaker. Her works have been exhibited in various galleries such as, Strathmore Hall, Touchstone Gallery, Gallery on the Circle, Women’s Club of Chevy Chase, Montgomery College Art Gallery and Performing Arts Center, Silver Spring Cultural Art Festival, and the Show Place Arena. There are permanent collections of her paintings can be found at Montgomery College Campus Towers and a six-panel mural displayed at the Smithsonian Air & Space Museum in Washington, DC.

Pope is the owner of Colour Art Gallery and Studio in downtown Silver Spring. The Gallery and Studio is dedicated to beautiful and functional art, made available to the public in a variety of work, not only created by Sandra, but it also provides exhibit space to other artists in the metropolitan area. She provides workshops in ceramics and painting to children and adults.

FLOYD ROBERTS is a graduate of the Corcoran School of Art in Washington, D.C. where he earned a BA in Fine Arts. He is a sculptor, who incorporates wood, stone, clay, metal and found objects to create pieces that tell stories about the people, places and things he believes are important. His sculptural objects are often inspired by his Trinidadian culture.

His most recent exhibition took place at the Smithsonian Anacostia Museum and Center for African American History and Culture. His solo exhibition featured, Art Historian created to acknowledge educational contributions of an important, and often overlooked, contemporary mentor. The art historian, represented by a painted clay figure, offers lessons on the accomplishments of black artists. (Courtesy of Smithsonian Anacostia Museum and Center for African American History and Culture)

Roberts’ sculptures have been featured in Parish Gallery in Washington, D.C., Strathmore Hall Art Center, Rockville, Maryland and Isobel Neal Gallery in Chicago, Illinois and group exhibitions in galleries in Maryland and Virginia.

CYNTHIA SANDS entered Howard University as a piano major, and was awarded a BFA from the University in 1971. For over thirty-five years, she has developed a singular artistic vision that includes recognition of the curative potential that is inherent in traditional artistic expressions, as well as a commitment to public service. The results have been diverse and innovative – ranging from distinctive visual arts – to bold textile designs – to functional art and creation of objects of adornment.

Her sense of color and concept has been informed by her formal training by, and close friendships and collaborations with many of the greatest African and African American artists of the 20th and 21st centuries – including Lois Maylou Jones, Skunder, Jeff Donaldson, John Otterbridge, James Phillip, to include a few.

Sands’ latest creative project titled “Mysterious Travelers” is a series of visual, dream-like images captured on canvas. This series of paintings capture the appearances of time travelers – ancient and ancestral griots who stand as totems from the past and seers for the future. According to Ms. Sands, these “Mysterious Travelers” are the connective tissue through time and space, which reminds us of the soul and universal spirit of humankind. She says, “Their ancient memories are carried by the wind, waves, beams of light and dew drops across the borders of human understanding and enlightenment” which you can also see through the paintbrushes and mind’s eye of Cynthia Sands.

LARRY SAXTON obtained his MFA from Howard University in Washington, D.C. He went on to study painting and sculpture at the Corcoran School of Art in Washington, D.C. where he was awarded a Ford Foundation Scholarship.

He draws his inspiration from African art. Saxon states, “The art of Africa is refreshing; it offers an understanding of who I am. The spiritual aspects, the mathematical qualities of design, and the rhythmic patterns, translated the beliefs and purposes of the African people. Their use of lines, shapes and colors would supply the confidence and courage I needed to produce an art that reflects my beliefs, and my interpretation of my life and environment.”

While in Washington, D.C., Saxton was provided the opportunity to meet and befriend some of the countries most famous artists including the painter Charles Sebree who had a great impact on Saxon’s art. Sebree said of Saxon’s work, “he demonstrates his ability and versatility as an artist in his use of many and varied media as the vehicles of his creations.” Saxon has exhibited throughout the Washington, D.C. area, and his artwork can be found in many corporate and private collections.

RICHARD WARD earned his BFA and Art Education Certificate at the School of the Art Institute of Chicago, in Illinois and a MFA at Howard University in Washington, D.C. He currently provides art instruction to students in the Newport News City School system. He is affiliated with the Tidewater Artist and College Art Associations and the National Conference of Artist.

He has received several commissions from the D.C. Commission on the Arts and Humanities, and was also commissioned by the Maryview Hospital Foundation, D.C., and D.C. Teachers’ Federal Credit Union. His awards and honors include, but are not limited to: Studio One-0-Seven – the Gallery’s choice, Rawls Museum Arts – Honorable Mention, Bay Days – Award for Distinction for 3D.

Ward’s works are in the permanent collection of the Kansas African American Museum, Inc. in Wichita, and the DuSable Museum of African American History in Chicago, Illinois. His most recent exhibitions include the Newsome House Museum and Cultural Center, Courthouse Galleries, Hampton University Museum, Charles H. Taylor Arts Center and the James E. Lewis Museum of Art at Morgan State University.

ANN WILLIAMS holds a BFA from Howard University and is currently an art director and has taught graphic design at American University as an adjunct professor.

Her main themes are family, spirituality, and African American culture. She draws much of her subject matter from family members, everyday experiences, and her childhood memories. In describing her work, Williams states, “I learned early on, that being Black was something unique and special. The music, spirituality, heritage, and traditions of our culture set us apart from others. I am very proud of my heritage and have many precious memories. Through my art, I want to share these memories and life experiences with others.”

Williams has participated in group exhibition at the American Association for the Advancement of Science 2003 Spring Show, Tri-Nubian Art Expo, and The Fairfax County Arts Council and the League of Reston.

MICHAEL SCOTT JOHNSON earned a Liberal Arts degree from Western Michigan University in Kalamazoo, Michigan. Choosing to gain a wide range of knowledge, Scott embarked on a liberal arts degree, which exposed him to the study of African-American Anthropology under noted African-American anthropologist, Dr. Warren Perry of New York City’s African Burial Ground Project. He is also a former Operation Crossroads Africa participant, serving as a member of its first group to enter post-apartheid South Africa.

Scott’s education as a sculptor began in Bulawayo, Zimbabwe. While there he studied traditional African techniques of stone sculpting under the tutelage of local artists who occupied the endless alleyways of the city. Johnson’s greatest opportunity came when he was invited to apprentice (1996-1999) with the internationally renowned master sculptor, Nicholas Mukomberanwa (1940-2002).

Johnson’s work has been exhibited in galleries and universities across the United States including Harvard University and the National Gallery of Zimbabwe. His sculptures are located in both private and public collections, most notably the Schomberg Center for Research in Black Culture and the Hampton University Museum. His seminal piece, “The Judgment of Peter Norton” has been added to the permanent exhibit “Two hundred Years of Art from the Hampton University Museum”.
 

Artist Bios – Ghana

EMMANUEL KWAME ADJEI was born on February 14, 1975. He hails from Akwapim, a suburb of Accra which has produced six prominent artists referred to as the Akuapim. He attended the Ankle College of Art in Kanda and earned a High National Diploma. It was through this experience that he realized that art is larger than the world itself, and this belief compelled him to further his studies under one of the master teachers in the school (Ankle College of Art). And under his tutelage, he gained a new respect for the profession.

Adjei has participated in exhibitions at the National Museum, National Theater and the Cresta Royal Hotel in Ghana.

DR. OKU AMPOFO (1908 – 1998) was not only a physician, a pioneer in the use of herbal medicine and founder of the Centre for Scientific Research into Plant Medicine, but also an actor and well-known sculptor.

Begun as a hobby during his medical student days in Edinburgh, Scotland, his sculpture flourished in Ghana and he soon achieved international fame. His works, executed in multi-colored hard woods or cement and terrazzo, display not only unusual artistic beauty but true understanding of the medium used. They also portray cultural and socio-religious aspects of the Ghanaian way of life.

Dr. Ampofo has exhibited in Senegal, Nigeria, England, United States of America, Israel, Brazil and Romania. He influenced many contemporary Ghanaian artists – painters, sculptors and ceramists alike.

AMPOFO-ANTI received his Bachelor of Arts degree from the University of Science and Technology, Kumasi, Ghana and his Master of Fine Arts degree from Howard University, Washington, D.C. He also completed further studies at the Institute of African Studies, University of Ghana, Accra, Ghana.

He is a multimedia artist, specializing in ceramics, printmaking and painting. He is presently Professor of Art at Hampton University, Hampton, Virginia. He has served as an art consultant for several organizations, and has conducted numerous workshops with art institutions, such as the National Museum of African Art, Smithsonian Institution and the Virginia Beach Center for the Arts.

Ampofo-Anti has received several commissions, including public art commission with the city of Rocky Mount, North Carolina and the city of Richmond, Virginia. His artworks have been exhibited in Africa, Europe, and the United States. He is the recipient of numerous awards, including the Peninsula Fine Arts Award for Excellence in Clay.

SAMUEL ASHONG was born on June 1, 1957. He attended the Accra Academy and later studied at the College of Art, Kwame Nkrumah University of Science and Technology (K.N.U.S.T.) from 1981 to 1984, where he specialized in textile and sculpture and graduated with a Diploma in Rural Art and Industry.

He is currently working with the Centre for National Culture in Accra, Ghana where is serves as the Administrative Officer and the Secretary of Ghana Association of Visual Artists, in the Greater Accra Region. Ashong has exhibited his artworks in Ghana, Germany, Moscow and the United States.

JACOB KWESI BENNETT was born on September 28, 1969. He attended the Kwame Nkrumah University of Science and Technology where he earned a Bachelor of Art degree in 1996. While in school he participated in two group exhibitions: The European Community Exhibition in collaboration with the College of Art K.N.U.S.T. under the theme “The European Community as seen through the eyes of Ghana” in May 1993 and The “Otumfuo Opoku Ware II Regalia Painting Exhibition” in 1995, marking his 25th Anniversary after being enstooled as the chief of the Ashanti Kingdom in Ghana.

Bennett, upon graduation, participated in the Visual Art Exhibition – PANAFEST in 1997 and 1999 (Pan African Festival of Arts and Culture) in Ghana. Its theme and title, “The Re-emergence of African Civilization.” He began exhibiting his artworks outside of Ghana in 2003, when he participated in an exhibition in Rome at the Heads of Ghana Diplomatic missions in Europe at the ambassador’s residence, and went on to exhibit in Modra Galerija and David’s Maasai Gallery in Solvenia.

ERIC EDDY was born on April 27, 1977. He enrolled in the Ghanatta College of Art and Design, where he earned a Diploma in Fine Art in 1997. Wanting to explore different aspects of art lead him to the Applied Art Workshop, were he studied sculptural design and techniques under George Annan a Ghanaian artist who received his training in France.

His paintings and sculptures are inspired by women who he believes are the light that brightens the lives of every man and child. He portrays their inner most beauty through rural African sceneries set in the market place, in the home and at the beach. His artworks capture the essence of the African in relation to their origin, displaying a mix of traditional symbols and beliefs, which are domestic, true and pure.

Eddy has received several commissions and has exhibited in galleries in Ghana, Ivory Coast, United States and England.

BERNARD MENSAH was born on December 24, 1978. He attended the College Of Art and Industry, where he acquired an in-depth knowledge of artistic design which has aided him in becoming a prominent and prolific painter.

He has been painting from infancy. He states, “When I was a child, I created images through my own imagination. My creativity is a form of my religious expression. I create to portray the beauty of nature and I express this through my artistic talents.”

Bernard is able to translate illusion into reality through his paintings. He uses acrylic on canvas when creating his works. He believes the acrylic enhances his style of painting. It allows him to be innovative in his approach to his work and bring different sensibilities to the canvas.

ENOCH YAW MENSAH studied graphics at the Teragogen School of Art. Then moved on to the Ghanatta College of Art and Design where he studied fine art. Whilst in art school, Yaw had the privilege of studying under several experienced artists.

He has grown to become a key figure in the neo-figurative and realist art developing amongst young artists throughout the country. Yaw’s work portrays cultural, social and environmental aspect and views of his motherland Ghana.

Yaw is an enthusiastic colorist and uses oils, acrylic, watercolor, charcoal and pastels to produce beautiful portraits and landscape senses for private collectors and galleries. His works have been featured in exhibitions in Ghana and the United States.

THOMAS APPIAH NTIAW was born in 1979 in the Nyankumasi Ahenkro, Central Region of Ghana. He earned his diploma in painting and graphic design at Ghanatta College of Art and Design in Accra, Ghana. Appiah, works express his innermost thoughts and feelings. His works focus on the day-to-day activities of the Ghanaian people. Appiah believes that the empty walls of a room are identical with empty dreams and non-fulfillment in life.

Appiah participated in the Ghana Association of Visual Artists (GAVA-GAR) and Shell Ghana Ltd. art competitions, which were held in Accra, at the National Theatre.

GEORGE OBENG was born on March 30, 1952. He attended the Accra School of Arts after basic education, and the University of Science and Technology in Kumasi, Ghana.

From 1971-1986, he was the assistant cultural officer for the Arts Council of Ghana, and was responsible for their national exhibitions, the restoration of damaged works, and training workshops for sculptors.

Obeng is a well-known wood sculptor, and is recognized by the Museum of African Art, Smithsonian Institution as one of the top artist of Ghana. His has participant in group exhibitions in Ghana, Oakland, California, United Kingdom, Bulgaria, Romania, China and many African countries.

KWAKU OFORI-ANSA, PH.D. is a native of Ghana. He received his professional and academic training both in Ghana and in the United States. He earned his Master and Doctoral degrees from Howard University and Columbia University respectively. Currently, he is an Associate Professor at Howard University where he has been teaching and conducting research in the theory, practice and history of African traditional and contemporary arts since 1980.

For 21 years, he has served as the curator for the African Art Museum of Maryland; and has worked as a consultant for such cultural institutions as the Smithsonian Institution National Museum of African Art, the National Museum of Natural History, and the African Voices Project. He is a member of the African Studies Association, National Conference of Artists and National Art Educators Association. Additionally, he serves as a member of the Board of Advisors of the Panafest Foundation, an international Pan-African cultural festival based in Ghana.

Ofori-Ansa is credited with a number of group art exhibitions in Ghana and in the United States since 1973. In addition to his creative abilities he has authored numerous articles, and publications on African arts and culture including such popular educational charts as Kente is More than a Cloth, Meanings of Symbols in Adinkra Cloth, Weights of Wisdom: History, Production and Uses of Akan Gold Weights, Royal and Sacred Stools of the Akan People of Ghana, and Royal Linguists Staffs of the Akan People of Ghana; all published by Sankofa Edu-cultural Publications.

EMMANUEL TETTEH PECKU was born on December 20, 1981. He entered the Ghanatta College of Art and Design in Accra, Ghana in 1999 to receive his artistic training. But his interest in art began during pre-school, where he often drew on any available surface, to the dismay of his teachers who often complained. However, after begin guided to art materials, he began to receive awards in school for his artistic abilities which encouraged him to pursue formal training.

He enjoys creating works using acrylics which he applies to canvas using a flat short-bristle brush and a palette knife. The result is a unique style, greatly enhanced by an almost fanatical regard for the purity of colors.

Pecku has exhibited in Accra and won two major art competitions for his artworks, which address social issues in Ghana.

KWABENA AFRIYIE POKU was born in Ghana. He attended Kwame Nkrumah University of Science and Technology in Kumasi, where he majored in painting and earned both a Bachelor and Master of Fine Art degree.

Kwabena’s works show technical mastery of various painting media, skilled in the use of oils, acrylics, watercolor, pastels, charcoal, pen and ink, as well as using the computer to draw and paint. His paintings express images of his environment, the beliefs of the people, their culture, traditions and politics.

GODWIN ADJIE SOWAH was born in 1978 in Adaraka a suburb located in Accra, Ghana. He received his artistic training from the Ghana Association of Visual Artists. A member of the Ga people, it is his rich culture and heritage that inspires his artwork.

He began painting in middle school and over the years has remained dedicated to his craft. He is an artist of eminence talent whose works depict imagery of Ghanaian traditions and mythology.

Sowah’s faith plays a critical role in his creative process, for he believes his artistic abilities are a gift from God. And that one must respect nature and the community in which they live.

Ancient Traditions – Contemporary Forms Curators Statement

 African American • Karo Courtship by Lisa Green African American • Karo Courtship by Lisa Green

Ancient Traditions – Contemporary Forms

The Embassy of the Republic of Ghana, Washington, DC
October 1 – October 31, 2004

exhibition | artist bios | exhibition catalogue

Curator’s Statement

Ancient Traditions – Contemporary Forms, is an exhibition that explores the theory of atavistic memory. In Memory Lines: Art in the Pan-African World, Nkiru Nzegwu (2000) suggests that “experiences make up history and history is constituted by memories.” Genetically these memories, like cultural DNA, are passed down from generation to generation and serve as a historical roadmap to the rites, rituals and traditions of one’s kinship.

African American, whose socialization differs from that of his African cousin, expresses this cultural memory innately through shared ideologies in Africanized forms. African American artists, in particular, continue to reproduce an aesthetic that is reminiscent of their cultural heritage.

In this exhibit, we employ the artwork of Ghanaian and African American artists to explore and prove this theory. Their paintings and sculptures become the visual language by which the stories of their cultural histories are revealed. Ghanaian traditions survive as cultural genetic memories embedded within the artwork of African-Americans – artwork that reveals a striking resemblance to its cultural parentage.

The cultural voices of the Ghanaian artists are juxtaposed against the rhythm and harmony of the African Americans. As in the tradition of African music, the Ghanaians extend the ancient “call,” eliciting a contemporary “response” from the African Americans. Through this cultural song, we discover the innate similarities derived from the ties of African ancestry – a bond which has not ceased by the separation of an ocean, a bond which continues through atavistic memory.

Shared ethnicity, ideologies and values link the Ghanaians and the African Americans featured here. And it is their artistic renderings – conveyed through realism, symbolism, abstraction and cubism – that exhibit common practices and beliefs. A continuity that spans generations exists in the instinctive use of color, rhythm and patterns that evokes, as Nzegwu suggest by “the human cultural consciousness that derives from the ties of ancestry.”

We challenge you, not only to discover the innate similarities that exist at the core of each artist’s rendering, but to find your own visual tradition. Within the cultural imagery, is a story that is reflective of your heritage – one that pays homage to your rich ancestry, honors your family, and preserves the traditions of your kinship.

Myrtis Bedolla, Curator

Ancient Traditions – Contemporary Forms

 African American • Karo Courtship by Lisa Green African American • Karo Courtship by Lisa Green

Ancient Traditions – Contemporary Forms

October 1 – October 31, 2004

curator’s statement | artist bios | exhibition catalogue
 
Ancient Traditions – Contemporary Forms is an exhibition that explores the theory of atavistic memory. In Memory Lines: Art in the Pan-African World, Nkiru Nzegwu (2000) suggests that “experiences make up history and history is constituted by memories.” Genetically these memories, like cultural DNA, are passed down from generation to generation and serve as a historical roadmap to the rites, rituals and traditions of one’s kinship.

In this exhibit, we employ the artwork of Ghanaian and African American artists to explore and prove this theory. Their paintings and sculptures become the visual language by which the stories of their cultural histories are revealed.

Curators: Myrtis Bedolla and Kwaku Ofori-Ansa, Ph.D.

Artwork

Artists Lovers Exploring the Muse Maya Freelon Asante and…

Artists Lovers: Exploring the Muse

a journey into the domain of the visual and literary arts world of creative couples


October 27 – December 15, 2013

Opening Reception:
Sunday, October 27, 2013
2:00pm – 6:00pm
about the exhibition

Artists’ Talk – Tea with Myrtis Art Salon
Saturday, November 16, 2013
2:00pm – 4:00pm
registration required

Artists Lovers:
Maya Freelon Asante and M. K. Asante
Carol Beane and Michael Platt
Leslie King-Hammond and Jose Mapily

 

 
Maya Freelon Asante and MK Asante
Maya Freelon Asante and MK Asante

 
Maya Freelon Asante is a visual artist whose work has been described by poet Dr. Maya Angelou as “observing and visualizing the truth about the vulnerability and power of the human being.”

Her work has been exhibited internationally and is included in the collections of the Reginald F. Lewis Museum and the U.S. State Department. Her latest work—a combination of tissue paper, printmaking, collage, and sculpture—was hailed by the International Review of African American Art as “a vibrant, beating assemblage of color.”
 
MK Asante is a bestselling author, award-winning filmmaker, hip-hop artist, and professor who CNN calls “a master storyteller and major creative force.”

Asante is the author of the critically acclaimed memoir Buck, described by Maya Angelou as “A story of surviving and thriving with passion, compassion, wit, and style.” Buck is a Barnes & Noble Discover Great New Writers pick. His other books are It’s Bigger Than Hip Hop, Beautiful. And Ugly Too, and Like Water Running Off My Back.

Asante is a tenured professor of creative writing and film in the Department of English and Language Arts at Morgan State University.

Artists Lovers Exploring the Muse Carol Beane and Michael…

Artists Lovers: Exploring the Muse

a journey into the domain of the visual and literary arts world of creative couples


October 27 – December 15, 2013

Opening Reception:
Sunday, October 27, 2013
2:00pm – 6:00pm
about the exhibition

Artists’ Talk – Tea with Myrtis Art Salon
Saturday, November 16, 2013
2:00pm – 4:00pm
registration required

Artists Lovers:
Maya Freelon Asante and M. K. Asante
Carol Beane and Michael Platt
Leslie King-Hammond and Jose Mapily

 

 
Carol Beane and Michael Platt
Carol Beane and Michael Platt

 
Carol Beane is a Washington, D.C.-based poet/artist. She was awarded the 24th Larry Neal Poetry prize for Poetry (funded by the DC Commission for the Arts+Humanities and the National Endowment for the Arts), and she received the 2009 National Museum of Women in the Arts Library Fellows Book Arts award for the streets of used to be, done with artist Renée Stout. Beane, collaborating with Michael B. Platt, also has created artists’ books and broadsides of poetry and images widely exhibited in the U.S. and abroad, most recently in Australia.
 
Michael Platt’s imagery has centered on the transformation of the human spirit that occurs when it confronts imagined or actual events and circumstances. Using the female figure, he creates images intended to express traces of the human spirit, often inspired by spaces with a history and the presence of things left behind. Empty spaces are as much storytellers as those filled with living. Exploring the visual possibilities of such circumstances, Platt has addressed issues of slavery, the aftermath of Hurricane Katrina and the levees, waiting, searching for home; and celebration.

Artists Lovers Exploring the Muse

I Was Always Here Before You (detail), 2012,  by  Michael Platt, I Was Always Here Before You (detail), 2012, by Michael Platt

Artists Lovers: Exploring the Muse

October 27 – December 15, 2013

about the artists | watch artists’ talk

A journey into the domain of the visual and literary arts world of creative couples. Artists Lovers: Maya Freelon Asante and M. K. Asante, Carol Beane and Michael Platt and Leslie King-Hammond and Jose Mapily

Artwork