Initially, starting this journey I really had no idea how I would feel about art. I had never given too much thought to it other than admiring a few works of art I had seen in random places. A few years ago my boss gave me a calendar that showcased Modern Art for the whole year. I remember pointing out a few Degas, Monet and Manet art works. I actually could not remember for sure if I saw any particular women artist in the calendar collection. I am sure I did but I could not be 100% sure. After attending the Brooklyn Museum, I am more aware than ever the reality that some women artist in general are not given their due in their lifetime. I looked, reveled, admired and then was dismayed at the marvelous Judy Chicago installation The Dinner Party. Yes, we must recognize our wonderful women artist and it would be wonderful if only we could recognize everyone of them past and present. I chose to focus on race in my search for women artist. Being a woman is not always a pre-cursor to camaraderie in the art world. I endeavor to recognize 5 African American artist working in the present as well as influences from the past. I am making my own dinner party, showcasing works that speak to women, race relations and our environments.
This was would be a dream dinner party to have a collection of African American women artist sit down and discuss the premise of their works, discuss their goals at the time they created their works and what they believe the reactions to their work would be. How political and exciting this conversation would be.
My first invitee is Betye Saar.
Betye Saar brought attention to imagery of African Americans in media. Saar's work The Liberation of Aunt Jemima makes a political statement by dealing with "white culture's stereotypical images of blacks." (Chadwick, 342). Mrs. Saar takes the image of the "mammy" which had been glorified in movies and elevated to a status of iconic imagery. Although, Mammy was not a real African nor African American person the image was solidified in the American psyche, that all Black women were the nurturers of White America. The image then transformed into the Aunt Jemima. Aunt Jemima is best known as the character on pancake syrup. These images were reinforced by blockbuster movies like Gone With the Wind, 1939 and Imitation of Life, 1934. These images were off shoots of our former slave selves. They were purposefully de-sexed, happy being maids and those digesting these images were supposed to believe that they "were resolutely resigned to accepting their fate of inferiority." (Bogle, 59). Betye Saar challenged this ideal and broke down the image as not a positive one but one that had subjugated Black Women in media for more than 40 years. In the environment of the late 60' and early 70's challenging these images added to the Civil Rights and Women's rights movements. Mrs. Saar continues to work and lives in California.
The Liberation of Aunt Jemima
Betye Saar, 1972
I invited Lezley Saar to dinner.
If this person's name sounds familiar it should she's the daughter of Betye Saar. Lezley's work takes a look at the hybridity of African Americans. Her works feature women of color especially African descent and "mulatto" women. Lezley is of mixed heritage and chooses to use this medium as a voice on race and identity. Many of her works are completed in assemblage as well as mixed media. Lezley Saar's works in mixed media include text, old books that are hollowed, fabrics and other materials. Her works also focus on dualities such as black/white, material/spiritual and male/female. These are the every day issues of life that we all face and looking at these issues through the lens of art we are open to these ideas and search what they mean to each of us. An article in the NY Times about children of famous artist stated, "choosing to lead creative lives with no certainty they would succeed." The article questioned whether being a child of famous artist hindered their creativity. After looking at Lezley Saar's work, I feel that she was inspired by her mom, her lineage and life led to a distinct and focused assemblage art. Lezley's current works are focusing on communication and graphics in order to have a way to and communicate with her autistic daughter. (see article below). Lezley is based and working in the Los Angeles area.
Madwoman in the Attic
Lezley Saar, 2012
The next invitation goes to: Chakaia Booker:
Chakaia Booker is a home grown contemporary sculptor who hails from Newark, NJ.
Chakaia Booker and Urban Excursion Rendezvous', 2004
http://www.eco-artware-notes.com/tag/chakaia-booker/
Chakaia is an sculptor who believes that she and everything thing she does is an expression of her art works. She embodies the work and seeks to address the African American identity and life in the urban space. Bookers' works include rubber from tires that have become an avenue to express her concerns on an eco-friendly environment. Her works range from items that are worn on the body to sculptures as the one above called Urban Excursion Rendezvous', 2004 located in Frederick Meijer Sculpture Park, Grand Rapids, Michigan. Chakaia Booker explains that these sculptures made from tires express the nuances of the African American and their identities in the urban environment. Many of her sculptures are twisted and bound, which she has said are indicative of the struggles of African Americans.
Mass Transit, Chakaia Booker
Indianapolis, IN 2008
Please join me for dinner and conversation with Augusta Savage:
Augusta Savage is an African American sculptor who was apart of the famed Harlem Renaissance in the 1920's and 1930's. Savage began sculpting by sculpting animals in clay. Eventually, she moved to Florida where natural clay was no longer available. She eventually met a potter who gave her materials to work with, she then entered her works into a fair and was well received. Savage eventually moved to New York where she found it difficult to study and hone her talent. She persevered and tried to study in a summer art program and was rejected because of her race. Rejection fueled her fire for her work and she continually worked to be acknowledged. She eventually established herself as a portrait sculptor making bust of such famous men as W.E.B. Du Bois and Marcus Garvey. Ms. Savage also chose to sculpt everyday African American men, women and children. Her sculptures thereby immortalized the life of the ordinary Harlem resident giving them voice, in a world where they did not have had one based simply on the color of their skin.
Gamin (Kid), Augusta Savage
c.1930
Lenore, Augusta Savage, c.1930
Lift Every Voice and Sing, 1939
Riding Death in My Sleep, 2002
Bibliography
Augusta Savage was a pioneer in the art world because she stood up for her right to be an artist. During the depression she organized protest against the Works Progress Administration (WPA) which instituted art programs and works for out of work artist. The WPA did not initially include Black artist but eventually did include Black artist on their rolls. Ms. Savage was a supporter of her fellow Black artist and found it important to teach the arts and foster new talent. Ms. Savage started the Savage Studio of Arts and Crafts, which became the Harlem Community Arts Center. Augusta Savage died in 1962. Only nineteen of her sculptures have survived. (GG, 77).
Last but not least invited to my dinner party is Wangechi Mutu:
Ms. Mutu is from Kenya Africa and is an inspiration. Her works inspire thought that goes beyond just what you are seeing. The pieces shown in the Brooklyn Museum exhibition range from installation, performance, animation, collage and assemblage. The pieces evoked emotions about her African Tradition and her place in the world now. The works also piece together the past and the present. Her works include African masks, motorcycles, animals and other objects. Wangechi also focuses a lot of the face, shape of the body and often accentuated features of supposed distinctly African features such as the lips and forehead. As I looked at her works, I felt an extreme need to ask the person next to me what do you see and what are you feeling right now while you are looking at this work. I felt strange, wished I had that sort of imagination and creativity and wished that I could meet her just to see if she is as profound in her person as her art work.
A Shady Promise, Wangechi Mutu
Ms. Mutu's work combines readymade materials, magazine cut outs and samples from her African traditions. Wangechi believes that different cultures project their worst fears and desires onto the female form. Her works then still speak to the overriding theme in some art that women are for the male gaze only. I applaud Wangechi for making the works ethereal, scary and mind blowing. Her animation video on display provoked thoughts of identity. Who are we without the knowledge of our pasts and heritages. How do we reconcile those traditions with the current society? How does society act when you go against the norms and express yourself? I think Wangechi's Shady Promise brings forth these images of birth, identity, animalistic desire and ideas on the body. It reminded me of one of Adrian Pipers images from Vanilla Nightmares. Her works also speak to the exotic as for men the idea of different in the colored woman was exotic and could be abused as such.
The End of Eating Everything (Still), 2013
Eat Cake (Still), 2012.
All the women invited to my dinner party speak to issues that I have faced in my life. Issues of who I am based on heritage, feeling a responsibility to my community and environment. Also, recognizing that women of color come in all shapes and sizes. The fact there is no true way to define our identity. Identity is what you choose it to be which is what my semester project is about the choice of hair and what choices you make in styling it and how styling has become and should be considered a new art form.
Bibliography
Adamson, Loch. "When creativity runs in the family." New York Times, August 17, 1997., 1, Academic Search Premier, EBSCOhost (accessed November 27, 2013).
Bogle, Donald. Toms, Coons, Mulattoes, Mammies, & Bucks. New York, NY: Bloomsbury Publishing Inc. 2001.
http://www.brooklynmuseum.org/exhibitions/wangechi_mutu/#!lb_uri=riding_death.php
Chadwick, Whitney. Women, Art, and Society. New York, NY: Thames & Hudson Inc., 1990.
Judy Chicago, The Dinner Party, Elizabeth A. Sachler Center for Feminist Art. Brooklyn Museum
The Guerilla Girls. The Guerilla Girls' Bedside Companion to the History of Western Art. New York, NY: Penguin Books, 1998.
http://www.metmuseum.org/collections/search-the-collections?ft=chakaia+booker&ao=on&noqs=true
Bogle, Donald. Toms, Coons, Mulattoes, Mammies, & Bucks. New York, NY: Bloomsbury Publishing Inc. 2001.
http://www.brooklynmuseum.org/exhibitions/wangechi_mutu/#!lb_uri=riding_death.php
Chadwick, Whitney. Women, Art, and Society. New York, NY: Thames & Hudson Inc., 1990.
Judy Chicago, The Dinner Party, Elizabeth A. Sachler Center for Feminist Art. Brooklyn Museum
The Guerilla Girls. The Guerilla Girls' Bedside Companion to the History of Western Art. New York, NY: Penguin Books, 1998.
http://www.metmuseum.org/collections/search-the-collections?ft=chakaia+booker&ao=on&noqs=true
"Augusta Savage," The Biography Channel website, http://www.biography.com/people/augusta-savage-40495 (accessed Nov 28, 2013).
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