{"id":10004,"date":"2021-08-21T23:27:18","date_gmt":"2021-08-21T23:27:18","guid":{"rendered":"http:\/\/media-archive.blackartinamerica.com\/?p=10004"},"modified":"2021-08-24T07:44:46","modified_gmt":"2021-08-24T07:44:46","slug":"dreams-of-the-father-the-inspired-artistic-trajectory-of-gale-fulton-ross","status":"publish","type":"post","link":"https:\/\/earthexhibitions.org\/media-archive\/?p=10004","title":{"rendered":"Dreams of the Father: The Inspired Artistic Trajectory of Gale Fulton Ross"},"content":{"rendered":"\r\n

Dreams of the Father: \u00a0The Inspired Artistic Trajectory of Gale Fulton Ross<\/h3>\r\n\r\n\r\n\r\n
by D. Amari Jackson<\/pre>\r\n\r\n\r\n\r\n
\u201cWhen I created as a child, and I did early, I was creating to escape the chaos of the adults around me. When I was a young woman, I was creating to escape my own chaos. And now that I am an older woman\u2014watch the word, older woman\u2014I create to escape back to the child that I was<\/em>.\u201d\u00a0\u2013Gale Fulton Ross TEDx Talks, 11\/16\/13<\/p>\r\n\r\n\r\n\r\n
Born<\/em> an artist. Knew from the start.<\/p>\r\n\r\n\r\n\r\n
After all, for celebrated painter, printmaker, and sculptor, Gale Fulton Ross, it was in the blood.<\/p>\r\n\r\n\r\n\r\n
\u201cMy father, Herman Fulton, Jr., designed the fin on the iconic classic Cadillac,\u201d reveals Fulton Ross, of the man who most influenced her half-century career in art. Though working daily to support his growing family as a body and fender man for a small car dealership in Malden, Massachusetts, Fulton Ross characterizes her father as a \u201cfrustrated artist\u201d with bigger dreams. In the cellar of their Malden home, near the coal bin that fueled the furnace, \u201che created a studio for himself with a drafting table, a stool, and a light bulb that hung on a chain over the table and, on each side, were shelves with his materials for drawing. So he was more of a draftsman.\u201d<\/p>\r\n\r\n\r\n\r\n
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“Duplicity.” Circa 2020. Mixed media silkscreen on canvas. Estimated 36″ x 40\u201d<\/p><\/div>\r\n
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\u201cEvery night, after dinner, daddy would go into the cellar,\u201d remembers Fulton Ross. As a child, given she always wanted to be an artist, she earned the moniker \u201cbaby artist\u201d from her father. \u201cSo I would go into the cellar too, and he would make me a stool next to his, and I would learn to draw from him.\u201d<\/p>\r\n\r\n\r\n\r\n
Years later, Fulton Ross would emerge from the cellar to become the artist her father once dreamed of. In high school, the talented teen received numerous awards for her art along with college scholarship offers. At the Massachusetts College of Art, her apparent ability and encouragement from an instructor prompted her to leave school early and seek mentorship from the likes of the legendary Charles White and the underappreciated Cleveland Bellow.<\/p>\r\n\r\n\r\n\r\n
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Gale Fulton Ross and friends, circa 1975 at Satch\u2019s Restaurant and Jazz Club: Satch Sanders (basketball), Sarah Ann Shaw (journalist), and Rev. Dr. Charles Stith (Ambassador)<\/p><\/div>\r\n<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n
Her chosen path has taken her around the world\u2014from Africa to Europe to Asia\u2014to study with master artists and exhibit her work while crossing paths with such icons as Thurgood Marshall, Dizzy Gillespie, Miles Davis, and James Baldwin. Her long roster of commissioned portraits includes Marshall, Jackie Robinson, Josephine Baker, Dr. Martin Luther King, Jr., and Archbishop Desmond Tutu, among many others.<\/p>\r\n\r\n\r\n\r\n
In the late 1990s, Fulton Ross became the first Black woman to exhibit her work on Palm Avenue in downtown Sarasota and, months later, accomplished another Sarasota first for a Black woman by opening the Fulton-Burt Gallery. With studios in Florida, California, and New York, Fulton Ross has received a long list of honors and commissions and is a sought-after speaker, art educator, and the creator of an art foundation dedicated to developing young artists.<\/p>\r\n\r\n\r\n\r\n
Undoubtedly, her ongoing support for emerging artists and her stellar career largely reflects the dreams of her late father.<\/p>\r\n\r\n\r\n\r\n
\u201cThe Cadillac and Oldsmobile people did not give him credit because he worked for them,\u201d reports Fulton Ross, of the popular design feature that would subsequently grace Cadillacs across the nation. She describes her father as an \u201cexcellent mechanic\u201d tasked with merely knocking the dents out of cars, restoring and painting them to a better condition. \u201cSo one day he decided that he was going to mix some parts of an Oldsmobile with a Cadillac and create a dream car for himself which, back in the day, men did,\u201d explains Fulton Ross, noting this practice would sometimes raise the ire of dealerships, who viewed these vehicles as potential competition.<\/p>\r\n\r\n\r\n\r\n
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\"Gale<\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n
Her father drove the newly-finned car, and was even featured in Jet<\/em> and Ebony<\/em> magazines as a \u201cdream car builder\u201d until one of the white owners of the dealership told him \u201che couldn\u2019t have it. He said, \u2018No, that doesn\u2019t work. You work for us and we have to take the car.\u2019 And they did.\u201d That same owner, says Fulton Ross, then \u201cdrove the car for 13 years\u201d before sending it to General Motors where they \u201cgave the concept of the fin to a white designer named Harley Earl, who ran the design department. So they just gave him credit for my father\u2019s hard work.\u201d<\/p>\r\n\r\n\r\n\r\n
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The troubling incident further fueled Fulton Ross\u2019 passion to succeed in art. However, while her artistically inclined father was fully on board, her mother was not.<\/p>\r\n\r\n\r\n\r\n
\u201cMy mom was not an artist,\u201d laughs Fulton Ross, characterizing her as \u201ca strong-willed woman who believed her children should have a good job.\u201d She clarifies that, for her mother, Henrietta, it wasn\u2019t even about promoting the value of education, reiterating \u201cshe wanted you to have a good job. And so if anybody asked my mom, \u2018Where\u2019s Gale, your oldest?\u2019 My mother would say, \u2018She\u2019s somewhere in the world coloring pictures.\u2019\u201d<\/p>\r\n\r\n\r\n\r\n
Nonetheless, Fulton Ross acknowledges that she and her mom, though often at odds over the daughter\u2019s life choices, were alike in many ways. While her mother became pregnant out of wedlock with the artist when she was a young teen, Fulton Ross became pregnant at 17. Both women, the latter once told an interviewer, were \u201cfull of spit and vinegar\u201d as they often had \u201cheated discussions about life.\u201d However, both women would make their own way, Henrietta being sent North from Virginia by her own mother to avoid the stigma of out-of-wedlock childbirth, and Fulton Ross using art to make ends meet.<\/p>\r\n\r\n\r\n\r\n
\u201cIt happens in stages over an artist\u2019s career,\u201d she offers. \u201cYou never think you can make a living, you just accept the fact that you don\u2019t need a lot. But you do need to do the work, so I often, in the early years, made a way out of no way.\u201d Fulton Ross had to make a way, given her new family, her rebellious persona\u2014a self-described \u201cfreedom fighter at the easel\u201d replete with full afro and Black Panther-like attire\u2014and her release from an early job with the Children\u2019s Television Workshop, the nonprofit behind The Electric Company<\/em> and Sesame Street<\/em>. \u201cI got fired from there for using my expense account to buy art supplies,\u201d recalls Fulton Ross, noting \u201cI didn\u2019t lie. I mean, I put it in the expense report, and they basically said, \u2018What is this?\u2019 And I said, \u2018Well, you know I’m an artist, and I ran out of supplies.\u2019\u201d That, she laughs, was \u201cthe last job I ever had. And that was like 1971.\u201d<\/p>\r\n\r\n\r\n\r\n
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Gale Fulton Ross, circa 1967<\/p><\/div>\r\n<\/figure>\r\n\r\n\r\n\r\n
Though not amused, her mother did eventually come to appreciate her daughter\u2019s prolific talent in her own way. Within the year after her mother\u2019s 2019 death, Fulton Ross\u2019 art was installed at the public library in Malden, a few miles away from her childhood home. \u201cIt would have been wonderful for her to have been there and seen that other people appreciated my artwork,\u201d she admits. However, \u201caccording to friends, they say she absolutely appreciated my artwork, as it hung in her house. And it did. I gave her pieces and she immediately hung them, so I know she did\u2026 she did.\u201d<\/span><\/p>\r\n
Even though the job with the Children\u2019s Television Workshop ultimately ended the way it did, it prompted Fulton Ross\u2019 relocation to New York City. And that, by all accounts, was a game changer. While still working with the popular children\u2019s programmer, and befriending Rita Moreno and Morgan Freeman, she would paint after work and on weekends as her art began selling well at the city\u2019s Carnegie Gallery. One buyer, who had purchased her drawing of Duke Ellington, was popular Black socialite, singer, and activist, Marian Bruce Logan, and she wanted to meet the artist. The two met at Logan\u2019s brownstone on 88th Street, hit it off, and the well-connected socialite offered Fulton Ross a downstairs studio in the building. The latter was immediately thrust into the heart of the New York Black social scene engaging with the likes of Cab Calloway, living next door to Donny Hathaway, meeting Nat King Cole\u2019s wife and her daughter Natalie, and even having South African Bishop Desmond Tutu sit for her in her first floor studio. Upon being introduced to Vernon Jordan and Dr. Howard Thurman of the National Urban League Trustee board, and being encouraged by Ron Brown, Fulton Ross would subsequently become the youngest trustee in the civil rights organization\u2019s history.<\/p>\r\n\r\n\r\n\r\n
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“George Floyd.” Mixed media, watercolor on paper. Estimated 36″ x 40″<\/p><\/div>\r\n<\/figure>\r\n\r\n\r\n\r\n
Along with Hathaway, who she\u2019d occasionally visit to hear play piano, Fulton Ross was also neighbors with Taj Mahal and Miles Davis. \u201cYou didn’t have a relationship with Miles Davis,\u201d she laughs, depicting how \u201che grunted if you spoke. You were afraid because Miles would go off on people, so I never spoke to Miles Davis. If I was going through the door to Mikell\u2019s (Jazz Club) and he was coming out, I would just smile and he\u2019d grunt. That was it.\u201d<\/span><\/p>\r\n
In 1975, after her divorce, Fulton Ross relocated to Oakland, California to be near her son who stayed with her ex-husband. There, she studied under printmaker and painter, Cleveland Bellow, and opened a studio and gallery called Earth and Art in downtown Oakland on 17th Street.<\/p>\r\n\r\n\r\n\r\n
Two years later, tragedy struck as the life of the one person who had supported her art from the beginning\u2014the man people commonly said she inherited her artistic abilities from\u2014ended in sudden and shocking fashion.<\/p>\r\n\r\n\r\n\r\n
\u201cMy father committed suicide at age 58,\u201d reveals Fulton Ross, noting \u201cI took it pretty hard. I actually had been talking to him on the phone that day and then, two hours later, he killed himself. So it was a very hard time.\u201d<\/p>\r\n\r\n\r\n\r\n
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“Despair.” Circa 2021. Mixed media silkscreen on canvas. Estimated 30″ x 30″<\/p><\/div>\r\n<\/figure>\r\n\r\n\r\n\r\n
\u201cHe and my mom were divorced, he was remarried and had moved to Atlanta, and a lot of things were not going right,\u201d says Fulton Ross, pointing out her dad had started his own automotive business with a partner who then cleaned out their bank account and skipped town. He then took a job as a security guard. \u201cI think it was a time in a Black man\u2019s life, at 58 years old, who had hopes and dreams of much higher endeavors, and he became extraordinarily depressed,\u201d continues Fulton Ross. \u201cHe suffered some kind of health condition that may have come from working with cars for many years, and his wife thought he took his life because he was sick. But I thought it was because he was extremely depressed.\u201d<\/span><\/p>\r\n
Though devastated by the loss of her father, the shocks did not end there. Around the time of his funeral, Fulton Ross found out that her beloved father was actually not her father. After her mother became pregnant as a young teen in Virginia and was shipped off to the Boston area, she had married Herman Fulton, Jr. when Fulton Ross was two years old. Still, for all the heartache and trauma caused by the suicide and the subsequent revelation, there was a silver lining. \u201cI went on to meet my biological father, who was wonderful,\u201d says Fulton Ross, explaining that her mother\u2019s side of the family had blocked him from being in her life. \u201cI got to meet him, and two years after I met him, he passed away. So I was very fortunate to meet my biological father and his family, and they are so very dear to me.\u201d To this day, Fulton Ross remains close with her more recently discovered relatives. \u201cSo it all worked out, but it was definitely a rough patch.\u201d<\/p>\r\n\r\n\r\n\r\n
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“Brotha Brotha!!!” Circa 2020. Mixed media silkscreen on canvas. Estimated 36 “x 40\u201d<\/p><\/div>\r\n<\/figure>\r\n
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Within a two-year period, Fulton Ross had not only lost two fathers, but found out that the central figure in her life was not of her blood. But while blood may be thicker than water, spirit can move both. Consistently, for Fulton Ross, such a revelation could never diminish the impact that Herman Fulton, Jr. had upon her artistic passion, her chosen career, and her compelling life journey. \u201cPeople would say, \u2018Oh, you have your father\u2019s talent,\u201d says Fulton Ross. \u201cHe was not my biological father, but he was my biggest influence, and my inspiration for who I am to this day.\u201d<\/p>\r\n
In 1978, amidst this tumultuous period, another event happened that would also prove transformative for Fulton Ross. Splitting time between coasts, the troubled artist returned to her regular New York spot, Mikell\u2019s, where she came upon a familiar looking man with unmistakably large, all-seeing eyes sitting at the bar smoking, drink in hand. Knowing who he was, the 31-year-old assumed the adjacent barstool, ordered a gin and tonic, and introduced herself to James Baldwin. The conversation with the world-renowned author would last for hours as both shared their life stories and striking similarities. Both were the oldest of nine siblings; both were theater and museum lovers; both were Leos; and both had learned that the fathers who raised them were not their biological fathers after their deaths.<\/p>\r\n\r\n\r\n\r\n
Further, both had experienced the heart-wrenching effects of suicide. Baldwin acknowledged how he had tried to take his own life on multiple occasions, and how he was haunted by the 1946 death of his best friend, Eugene Worth, who jumped from the George Washington Bridge. Upon confiding her anger and guilt over not recognizing her father\u2019s desperate state during their last phone call, the 54-year-old writer, Fulton Ross recalls, \u201ctold me to get over myself, that I had nothing to do with his death. There was nothing I could have said. As a Black man in America, he told me my father was tired, and I needed to understand that and not take it personally.\u201d<\/p>\r\n\r\n\r\n\r\n
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James \u201cJimmy\u201d Baldwin. Circa 2021. History Makers Series Exhibition. Mixed media silkscreen on canvas. 40″ x 60″ unframed<\/p><\/div>\r\n<\/figure>\r\n
That said, Fulton Ross\u2019 art is, in many ways, personal. \u201cOne time, she sent me one of her originals when she was down in the dumps,\u201d says longtime friend and collector, Hattie Dorsey, who met Fulton Ross through a mutual friend at a showing in California in the late \u201870s. Bearing a melancholy figure, reports Dorsey, the image \u201cwas on a small scrap of art paper, and this was her mood at that time. And I took that and I framed it. I told her that it represented, to me, where a lot of Black folks were at the time\u2014What am I going to do? How am I going to make it, you know?\u201d<\/span><\/p>\r\n
Dorsey, who now resides in Georgia, laughs at how her Atlanta home has pretty much become Fulton Ross\u2019 \u201cart gallery\u201d with her friend\u2019s art \u201cholding prominent spaces throughout my house. I think it really depicts the story of Black folks.\u201d With roots in rural North Carolina, the avid Black art collector speaks to how a particular piece she owns by Fulton Ross portraying \u201ca little girl looking out the door at her grandmother reminds me of going to the country in the summertime when I used to visit my grandmother. So I bought that piece from her, and then she did a collage of it as well.\u201d

Fulton Ross\u2019 art continues to resonate. While it has been exhibited at such institutions as the Oakland Museum, the Museum of the National Center for Afro-American Artists, and the California African American Museum, Fulton Ross also has works in the permanent collections of the National Museum of Women in the Arts in Washington, D.C., and the David C. Driskell Center at the University of Maryland. She was recently selected by pioneering business leader and retired Harvard Business School professor, Dr. James Cash, to do his official portrait upon becoming the first Black person to have a building named for him on the Harvard Business School campus. As an artist-in-residence at Studio Channel Islands Art Center in Camarillo, California, Fulton Ross is currently creating an exhibition honoring the activist Black artists and thinkers of the 1960s, inspired by parallels with the racial justice movement of 2020.<\/p>\r\n\r\n\r\n\r\n
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“Dr. Martin Luther King Jr.” Circa 2021. History Makers Series Exhibition. Mixed, media, silkscreen on canvas. 40″ x 60″<\/p><\/div>\r\n<\/figure>\r\n
Fittingly, some of these honors hit close to home. The Converse Memorial Building, a longstanding institution affiliated with the Malden Public Library, recently commissioned and installed two of Fulton Ross\u2019 works in their permanent collection. The master artist believes she has \u201ccome full circle\u201d in that Malden, and the larger Boston area she hails from, is now \u201cacknowledging me in such wonderful ways\u201d through this permanent collection. \u201cAnd that\u2019s important,\u201d stresses Fulton Ross, before playfully pointing out that \u201cI am a grandmother now\u2014one\u2019s nine and one\u2019s four. And I\u2019m looking forward to the day, whether I am here or not, that they get to see that grandma was a real artist.\u201d<\/span><\/p>\r\n
Indeed, by all accounts, Gale Fulton Ross is a real artist, one who has lived a remarkably artistic life that\u2014both unfortunately and fortunately\u2014her father, Herman Fulton, Jr., could only dream of.\u00a0<\/p>\r\n
\u201cMy 75 years on this earth have been full of art, full of culture, and full of lessons from my ancestors,\u201d says Fulton Ross, promoting art as a \u201cuniversal language\u201d that, without it, \u201cyou don\u2019t have a connection from one culture to another, and you lose all sense of humanity.\u201d<\/p>\r\n
\u201cI believe that art is long and life is short.\u201d<\/p>\r\n
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1978 – “The year I met James Baldwin.”<\/p><\/div>\r\n
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\"\"<\/b>AMARI JACKSON is a creator, author, TV\/web\/film producer, and award-winning journalist. He is author of the 2011 novel,\u00a0The Savion Sequence<\/i>; creator\/writer\/coproducer of the 2012-2014 web series The Book Look<\/i>; writer\/coproducer of the 2016 film Edge of the Pier<\/i>; and current writer\/coproducer of Listen Up!<\/i> on HBCU GO\/Roku TV. He is a former Chief of Staff for a NJ State Senator; a former VP of Communications & Development for the Jamestown Project at Harvard University; and a recipient of several writing fellowships including the George Washington Williams Fellowship from the Independent Press Association. An active ghost writer, song writer, martial artist, and journalist, his writings have appeared in a wide variety of national and regional publications.
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