{"id":10946,"date":"2021-12-14T13:42:23","date_gmt":"2021-12-14T13:42:23","guid":{"rendered":"http:\/\/media-archive.blackartinamerica.com\/?p=10946"},"modified":"2021-12-30T14:08:34","modified_gmt":"2021-12-30T14:08:34","slug":"how-public-art-projects-expanded-opportunities-for-a-generation-of-black-artists-part-2","status":"publish","type":"post","link":"https:\/\/earthexhibitions.org\/media-archive\/?p=10946","title":{"rendered":"How Public Art Projects Expanded Opportunities for a Generation of Black Artists, Part 2"},"content":{"rendered":"\r\n

How Public Art Projects Expanded Opportunities for a Generation of Black Artists, Part 2<\/h2>\r\n
By Yvonne Bynoe<\/pre>\r\n

Part 1 of this series<\/a> explored early public art by African-American artists starting in the 1930s with commissions that they received from the WPA’s Federal Arts Program and from historically Black colleges and universities. During a period when African-American artists were barred from exhibiting in major museums and galleries, public art projects were vital for getting exposure for their work and developing their professional reputations.<\/p>\r\n

In Part 2, we’ll delve further into some of the most influential Black artists of the 20th century and the public works that they created later in their careers. It’s important to note that, although today, works by these artists easily garner six and seven figures at auctions, during their lifetimes they often sold their works for modest fees. Consequently, public art commissions were important supplemental income.<\/p>\r\n

We’ll also look at contemporary artist, Kerry James Marshall, and the thorny issue of public art being sold to private collectors. The paradox that Marshall illustrates is that when a Black artist gains significant recognition is exactly the time when his or her work is most in danger of being removed from public spaces, particularly in Black communities, and transferred into private hands.<\/p>\r\n

Romare Bearden (1911-1988)<\/strong><\/p>\r\n

Romare Bearden, a prolific artist, is recognized as one of the most important visual artists of the 20th century. Bearden worked in various mediums, but he is best known for his richly detailed collages that portray Black American life both in the South and in the North. He had firsthand knowledge above and below the Mason-Dixon line. Bearden was born in Charlotte, North Carolina, raised in Harlem, and, as a youth, spent time in Pittsburgh, Pennsylvania. Bearden was multifaceted and his life experiences were reflected in his art.<\/p>\r\n

Professionally, Bearden held various jobs, including cartoonist and a successful advertising jingle writer. From the mid-1930s through the 1960s, Bearden was a social worker with the New York City Department of Social Services. He worked on his art at night and on weekends.\u00a0Bearden was also active in the New York arts community. He helped to found the Studio Museum in Harlem and, in 1963, co-founded the SPIRAL group to support the Civil Rights movement, and the Cinqu\u00e9 Gallery, a venue for emerging artists of color, with fellow artists, Norman Lewis and Ernest Crichlow.<\/p>\r\n

Bearden’s work is included in many important public collections including the Metropolitan Museum of Art; the Whitney Museum of American Art; the Philadelphia Museum of Art; the Museum of Fine Arts, Boston; and The Studio Museum in Harlem, among others.<\/p>\r\n

Bearden received commissions to create numerous public art projects throughout the United States. Among them includes:<\/p>\r\n

\"\"

UNTITLED, Olympics (1981-1982)
Hartford Library, Hartford Connecticut (Previously Civic Center Coliseum)
Two panel work
Photo credit: Bearden Foundation<\/p><\/div>\r\n

\"\"

City of Glass (1982) Bronx, New York
Westchester Square\/East Tremont Station #6 Subway Line
Photo credit: Bearden Foundation<\/p><\/div>\r\n

\"\"

Baltimore Uproar (1983)
Baltimore, Maryland
Upton\/Market Avenue Metro Station
Photo credit: Bearden Foundation<\/p><\/div>\r\n

\"\"

Pittsburgh Recollections (1984)
Gateway Center T Station, Pittsburgh Allegheny Rapid Transit Authority
Ceramic tile mural composed of 780 tiles. It was made by Bennington Potters, Inc.
Photo credit: Bearden Foundation<\/p><\/div>\r\n

\"\"

Before Dawn (1989), Charlotte, North Carolina Main Library Weill Popular Library. Glass tiles forged by Crovatto Mosaic Company in Italy.
Photo credit: Bearden Foundation<\/p><\/div>\r\n

\"\"

The Tree of Life: Symbol of Salvation
(undated), Harlem, New York
St. Martin\u2019s Church (formerly St. Philip’s Church)
Photo credit: St. Martin’s Church, photographer unknown<\/p><\/div>\r\n

Bearden’s father and mother belonged to the congregation, and he was an occasional member.<\/p>\r\n

John T. Biggers (1924-2001)<\/strong><\/p>\r\n

John T. Biggers is best known for his murals, while also being well-respected for his drawings, prints, and sculptures. The artist was influenced by his Southern roots and later, African art. In the 1940s, Biggers style was social realism portraying what he saw and experienced as a young African-American man. In the 1950s, after a trip to the continent of Africa, his works were infused with depictions from traditional African cultures.<\/p>\r\n

A native of Gastonia, North Carolina, Biggers established and chaired the Department of Art at Texas Southern University in Houston for 34 years, before retiring in 1983. In 1988, he was recognized as the Texas Artist of the Year.<\/p>\r\n

(Selected works)<\/p>\r\n

\"\"

The Contribution of Negro Women in American Life and Education” (1953)
Located on a wall inside the Blue Triangle Multi-Cultural Association\u2019s building, Houston, Texas
Photo credit: Blue Triangle Community Center<\/p><\/div>\r\n

\"\"

Family Unity (1977)
Texas Southern University Student Life Center, Hanna Hall Photo Credit: Texas Southern University<\/p><\/div>\r\n

\"\"

Origins (installed 1992) and Ascension (installed 1992) Two murals commissioned by Delta Fine Arts for Winston-Salem State University, O’Kelly Library
Texas Southern University<\/p><\/div>\r\n

After learning that, during his 47-year career, Bigger had not painted one in his home state of North Carolina, Winston-Salem Delta Fine Arts decided to undertake a mural project. Biggers began the project in 1990, and Delta Fine Arts presented the murals to the university on March 28, 1992. Twenty years prior, in 1972, Winston-Salem Delta Fine Arts was created as an initiative of the Winston-Salem alumnae chapter of Delta Sigma Theta Sorority, Inc. to highlight the work of African-American artists.<\/p>\r\n

Selected murals by John T. Biggers in Texas:<\/p>\r\n

History of Negro Education, <\/em>Morris County, Texas (1954) Commission in honor of Professor Phineas Y. Gray (1886-1976) of George Washington Carver Negro High School<\/p>\r\n

Web of Life <\/em>(1962), University Museum, Texas Southern University<\/p>\r\n

Nubia,<\/em> Origins of Business and Commerce <\/em>(1999, with Harvey Johnson), Texas Southern University Jones Business School.<\/p>\r\n

Birth<\/em> from the Sea<\/em> (1966), W.L.D. Johnson Branch, Houston Public Library.<\/p>\r\n

The Quilting Party <\/em>(1981),\u00a0 Music Hall, now at the Wortham Center.<\/p>\r\n

Christia Adair <\/em>(1983), Christia V. Adair Park, Harris County.<\/p>\r\n

Song of the Drinking Gourd <\/em>(1987), Tom Bass Regional Park III, Harris County.<\/p>\r\n

Salt Marsh <\/em>(1998, with Harvey Johnson), University of Houston-Downtown.<\/p>\r\n

(See also Hampton University, Part I)<\/p>\r\n

Elizabeth Catlett (1915-2012)<\/strong><\/p>\r\n

Elizabeth Catlett is regarded as one of the preeminent artists of the 20th century. Catlett’s work explored issues of race,\u00a0class and female identity, influencing generations of artists in her home country of the United States and in Mexico, where she lived from 1946 to the end of her life.<\/p>\r\n

Catlett was the granddaughter of former enslaved Black Americans. She was raised in Washington, D.C. and graduated from Howard University in 1935, where her teachers included artist, Lo\u00efs Mailou Jones, and philosopher, Dr. Alain Locke, often called the “Father of the Harlem Renaissance.”<\/p>\r\n

Her most iconic work is arguably The Sharecropper<\/em> (1952), a rendering of an anonymous Black woman sharecropper. The compelling linocut brought attention to the horrific plight of tenant farmers (sharecroppers) in the South who paid for the land they rented with part of their crop, often resulting in lifelong debt. Since Black sharecroppers didn’t have the power to dispute charges or even review their accounts with White landowners, many considered sharecropping to be indentured servitude.<\/p>\r\n

\"\"<\/a>

“Sharecropper”<\/a> (1952) by Elizabeth Catlett\u00a0 13-\u00bd x 11 in. Off-set lithograph. Unframed and Unsigned. ($350.00)<\/p><\/div>\r\n

\"\"

Ralph Ellison Memorial (2002-2003), Riverside Park, New York, NY
Bronze bronze deer isle granite | 15 x 7′ 6″ x 6″
Photo credit: City of New York<\/p><\/div>\r\n

The Ralph Ellison Memorial\u2014<\/em>honoring Ralph Ellison and his 1952 novel, Invisible Man<\/em>\u2014was\u00a0Catlett’s first commissioned public work in New York City.\u00a0Invisible Man<\/em>\u00a0was also the inspiration for Kerry James Marshall’s Portrait of the Artist as a Shadow of His Former Self <\/em>(1980).<\/p>\r\n

(See also Howard University, Part 1)<\/p>\r\n

Jacob Lawrence (1917-2000)<\/strong><\/p>\r\n

Harlem native, Jacob Lawrence, is an American master who is considered by many art scholars to be the premiere African-American artist of the 20th century. His body of work focuses on the Black American experience in the United States. Lawrence’s capstone work is The Migration Series <\/em>(1940\u201341), which was created when he was 23 years old. The 60-panel series depicts the post\u2013World War I migration of African-Americans from the rural South to the industrial cities in the North. He stated that he made the Migration Series <\/em>to tell an important story in American history that had been omitted.<\/p>\r\n

Lawrence began painting some of his earliest works at the Harlem Community Art Center, directed by sculptor, Augusta Savage. Lawrence’s other important work includes his series of panels on the lives of important African Americans in history including:<\/p>\r\n

The Life of Toussaint L\u2019Ouverture, <\/em>1937, (forty one panels)<\/p>\r\n

The Life of Frederick Douglass, <\/em>1938, (forty panels)<\/p>\r\n

The Life of Harriet Tubman,<\/em> 1939, (thirty one panels)<\/p>\r\n

\"\"

The Events In the Life of Harold
Washington (1991), Chicago, Illinois
Harold Washington Library
Photo credit: City of Chicago Public Art Collection<\/p><\/div>\r\n

This monumental work recognizes the late Harold Washington (1922-1987), who was elected the first African-American mayor of Chicago in 1983. The mural depicts Washington’s accomplishments as a student, Civilian Conservation Corps worker, U. S. soldier, lawyer, congressman, and mayor of Chicago.<\/p>\r\n

\"\"

UNTITLED (2001), New York, New York
Times Square-42nd Street subway station.
Glass mosaic on stairway wall.
Photo credit:
MTA Arts and Design<\/p><\/div>\r\n

In 1997, Lawrence completed the design for a 72-foot long mural that was installed in 2001 in the new Times Square Subway Complex at Broadway and 42nd Street in New York City.<\/p>\r\n

Not pictured:<\/p>\r\n

Theater <\/em>(1985), University of Washington in Seattle, main lobby of the Meany Hall for the Performing Arts<\/p>\r\n

(See also Joseph P. Addabbo Federal and Howard University, Part 1)<\/p>\r\n

Joseph P. Addabbo Federal Building<\/u>, <\/strong>Jamaica, New York (borough of Queens) Regional Social Security Office\u00a0<\/p>\r\n

(Selected works)<\/p>\r\n

While the intention to bring the work of African-American artists to the new federal building located in South Jamaica, a predominantly Black community was universally praised, some questioned the works by artists who had no association with the borough. While Lawrence and Bearden were revered, like seven of the eight artists who were chosen, neither had ever lived in Queens. Critics were also concerned that the works of the older artists didn’t truly express the spirit of the neighborhood and that, stylistically, they were misaligned with the modern building.<\/p>\r\n

\"\"

Jacob Lawrence, Community<\/em> (1989)
10′ x 12′<\/p><\/div>\r\n

In Community<\/em>, Lawrence portrays the vibrancy and energy of the bustling streets around the federal building in a work that’s a statement about labor and collective effort.<\/p>\r\n

\"\"

Romare Bearden, Family<\/em> (1989)
10′ x 12′<\/p><\/div>\r\n

Family <\/em>is Bearden’s last work, and it was replicated from a collage inspired by his childhood in Charlotte North Carolina, which depicts several generations of a family in their home.<\/p>\r\n

Richard Hunt (b.1935)<\/strong><\/p>\r\n

Richard Hunt has been called one of the most important African-American sculptors in the United States of the 20th century. In 1957, while he was a student at the School of the Art Institute of Chicago (SAIC), the Museum of Modern Art (MOMA) purchased one of his works. Thereafter, his sculptures were exhibited at major museums such as the Whitney Museum of American Art, the Cleveland Museum of Art, and the Art Institute of Chicago. In 1969, Ebony<\/em> magazine hailed him as \u201cone of the foremost sculptors in the country.\u201d\u00a0 Two years later, in 1971, MOMA mounted Hunt’s first retrospective, “The Sculpture of Richard Hunt.”<\/p>\r\n

Today, Hunt’s more than 150 public sculptures can be found across the country in spaces that range from bucolic parks to impressive skyscrapers. He has been commissioned by corporations, hospitals, museums, municipalities, universities, and athletic organizations.\u00a0<\/p>\r\n

Hunt’s public sculptures marry abstract art with the experiences of African Americans, as evidenced in such works as Freedmen\u2019s Column, <\/em>(1989) one of three of his works at Howard University in Washington. Howard University was founded in 1867 in the aftermath of the Civil War under the federal Freedmen’s Bureau.\u00a0I Have Been to the Mountaintop <\/em>(1977) is a memorial to Dr. Martin Luther King, Jr., in Memphis, Tennessee, where he was assassinated. His welded bronze sculpture, Swing<\/em> Low<\/em> (2016), hangs in the lobby of the National Museum of African American History and Culture in Washington, D.C., the newest addition to Smithsonian Institution.<\/p>\r\n

\"\"

The Light of Truth Ida B. Wells National Monument (unveiled on July 1, 2021) Chicago, Illinois Bronze
Photo credit: UNKNOWN<\/p><\/div>\r\n

The 30-feet tall monument to journalist-activist, Ida B. Wells was installed in Bronzeville on the site of the Chicago Housing Authority\u2019s Ida B. Wells Homes, which were demolished in 2011. It is the first monument in Chicago to honor an African-American woman.<\/p>\r\n

(See also: Howard University, Part 1 of series)<\/p>\r\n

Kerry James Marshall (b. 1955)<\/strong><\/p>\r\n

Kerry James Marshall was born in Birmingham, Alabama in the era of Jim Crow, raised in the Watts community of Los Angeles during the Civil Right era and lives in Bronzeville, a historically African-American community in Chicago. He’s a bridge between the groundbreaking Black artists of the early 20th century whose careers and livelihoods were constricted by racial segregation and a younger generation of high-profile Black artists who are widedly celebrated in the art world and whose works command large fees.<\/p>\r\n

Marshall’s career started in 1980 when the 25-year-old recent art school graduate painted his seminal Portrait of the Artist as a Shadow of His Former Self <\/em>inspired by Ralph Ellison’s 1952 novel, Invisible Man<\/em>. The work is foundational to his oeuvre of large scale narrative works that feature black figures. The dark figures serve as a blatant articulation of blackness in an art world where Black people historically have even rendered invisible.<\/p>\r\n

In 1985, Marshall became an artist-in-residence at the prestigious Studio Museum in Harlem and, in the early 1990s, Marshall caught the attention of gallerist, Jack Shainman. Marshall’s relationship with Shainman resulted not only in Marshall’s first solo exhibition at the Jack Shainman Gallery but also in the Los Angeles County Museum’s acquiring De Style <\/em>(1993), becoming his first work to be placed in a major museum collection.<\/p>\r\n

For years, Marshall was highly regarded by curators and fellow artists, but he wasn’t a household name. In 2016, he had a retrospective exhibition, Kerry James Marshall: Mastry<\/em> that encompassed nearly 80 works, including 72 paintings and spanning the artist’s 35-year career. The exhibition drew praise at Museum of Contemporary Art (MCA) in Chicago, at the Museum of Modern Art (MOCA) in Los Angeles and at the Metropolitan Museum of Art in New York, where the exhibit ran through January 2017.<\/p>\r\n

The success of the retrospective exhibition significantly raised Marshall’s public profile. Subsequently, in 2018, he saw his 1997 Past Times<\/em> being auctioned at Sotheby’s for millions of dollars.<\/p>\r\n

\"\"

Past Times<\/em> (1997), Previously, McCormick Place, Convention Center, Chicago, Illinois
Photo credit: Sotheby’s<\/p><\/div>\r\n

The Metropolitan Pier and Exposition Authority (MPEA) bought Marshall’s painting in 1997 for $25,000 from a Los Angeles art gallery.\u00a0MPEA is a quasi-public entity which owns McCormick Place, Chicago’s Convention Center. The entity commissioned the work to Sothey’s auction house and, on May 15, 2018, Sean “P. Diddy” Combs, a Grammy-award winning music producer\/artist placed the winning bid of $21.1 million (including fees) for Marshall’s painting. The sale was reportedly the most ever paid for a painting by a living African-American artist.\u00a0Although the record-breaking sale resulted in unprecedented publicity for Marshall, he didn’t benefit financially from the sale of his work.<\/p>\r\n

\"\"

Knowledge and Wonder<\/em>
Photo Credit: City of Chicago<\/p><\/div>\r\n

On the heels of the sale of Past Times,\u00a0<\/em>later that year, the City of Chicago consigned Marshall’s work, Knowledge and Wonder<\/em> (1995) to Christie’s auction house. The pre-sale estimate of the work was $10 million\u2013$15 million. The painting was originally purchased by the City of Chicago for $10,000. The work hung in the Legler Public Library and proceeds of the sale were to have been used for renovations at the library.\u00a0The 10-by-23-foot long mural portrays African-American adults and children standing before an array of life-sized books. It’s one of the largest works in Marshall\u2019s oeuvre and has been described as possibly one of Marshall’s most complex, layered and compelling works.\u00a0<\/p>\r\n

The impending sale sparked a public outcry about who in Chicago was deemed worthy of having access to public art. Many questioned why a cultural asset in an underserved community should be sacrificed to pay for improvements to its library’s facilities. Amidst widespread criticism, then Chicago Mayor, Rahm Emmanuel, withdrew Marshall’s work from the scheduled November 15, 2018 auction.\u00a0Marshall was vocal about his disapproval of the sale, telling ARTnews, ” I am certain they could get more money if they sold the Picasso sculpture in Daley Plaza.\u201d He also referenced a mural he completed in 2017 for the City of Chicago in which he was paid one dollar saying, “you could say the City of Big Shoulders has wrung every bit of value they could from the fruits of my labor.\u201d<\/p>\r\n

Knowledge and Wonder<\/em> had been purchased under The City of Chicago Public Art Program, who commissioned the work as part of the Percent for Art Ordinance, which requires that Chicago\u2019s municipal construction projects spend 1.33 percent of their budget on public art.\u00a0Another work acquired under this program is a carved wood sculpture, Floating Family<\/em> (1995) by Elizabeth Catlett, displayed\u00a0at the Legler Public Library in Chicago.<\/p>\r\n

\"\"

Catlett’s Floating Family
Photo Credit: City of Chicago<\/p><\/div>\r\n

 <\/p>\r\n

\"\"<\/p>\r\n

Browse and shop for fine art from our growing network of artists, collectors, estates, galleries \u2014 specializing in works by Black American artists with great values on premier art.<\/p>\r\n\r\n\r\n\r\n

START COLLECTING ART<\/span><\/h1>\r\n

Sign up for our\u00a0free\u00a0email course<\/strong><\/u><\/a>\u00a0<\/strong><\/span>on how to begin your collection.<\/strong><\/p>\r\n

\"\"<\/strong>Yvonne Bynoe<\/b>\u00a0is the founder of the online platform @shelovesblackart which highlights visual art from the African diaspora with the mission to encourage more people of African descent to collect art. She is a former attorney, cultural critic and author of several books.<\/p>\r\n

 <\/p>\r\n

Would you buy stock in BAIA if you could?<\/strong> Well we invite you to join us in becoming a monthly supporter, starting at just $3 a month YOU become a stakeholder and begin to help us transform lives through art. We are growing the BAIA team and will use your contributions to hire more team members for the purpose of creating more educational and marketing resources for schools and universities about african american artists both past and present. Such art initiatives and educational programming like Blacklite with Steve Prince, Relating to Art with Dr. Kelli Morgan, and BAIA BITS would not be possible without the ongoing support of our Patreon members. Please consider becoming a monthly Patreon member today!<\/p>\r\n

Review our list of rewards for becoming a BAIA\u00a0Patreon<\/a><\/span>\u00a0<\/span>\/ patron supporter. Your monthly contribution has lasting benefits. \u2014 \u201cWhat will your legacy be\u201d \u2013 Dr. Margaret Burroughs<\/p>\r\n

Thank you new and recurring monthly<\/span> Patrons<\/h1>\r\n

Deloris and Eddie Young<\/b>,\u00a0<\/b>Esther Silver-Parker<\/b>,\u00a0<\/b>Eugene Foney<\/b>,\u00a0<\/b>Zadig & Voltaire, Petrucci Family Foundation Collection of African American Art<\/b>, John and Melanie Guess, Frank Frazier, Houston Museum of African American Culture, Leslie Fields, Jim Nixon, Dr. Michael Butler, Mary \u201cMadea\u201d Jones,\u00a0<\/b>Patrick Stewart, Noreen Winningham, Reg Pugh, Kevin Smokler, Deborah R. Moore, Dr. Skyller Walkes, Jae M, Jocelyne Lamour, Marion Zweig, Shannon DeVaney, Ashlee Jacob, DaNia Childress,\u00a0Rev. Anita Marshall<\/strong>, Mary Ali-Masai, Devera Redmond, Roslyn Valentine, Robin King, Brenda Larnell, Michael, Jeffery Washington, Tricia Konan, Debra L Lacy CHARLES BIBBS, Fredric Isler,\u00a0Silvia Peters<\/strong>,\u00a0 Harold Moore, Shurvon Haynes K.Coleman Shannon Dale Davis Terese L Hawkins M. Rasheed Jamal Love Annette,\u00a0Mason Archie<\/strong>, Manuelita Brown,\u00a0Carolyn L. Mazloomi<\/b>\u00a0 Gale Ross KL Martin michael jacobs Virginia Joy Simmons Christ Van Loan Sr. Cecilia Winters-Morris, Rosie Gordon-Wallace, Pearlie Taylor,\u00a0Danny Jenkins<\/strong>, Sara, Lloyd Goode, Marina Kovic, Sarah Rooney, Mitchell Shohet, Nicole Farley, Cheryl B Blankman, Jocelyn Greene, Laura Di Piazza Petrina Burkard Hannah Diener Sarah Drury Claire Sig Mina Silva Whitney, Sara Friesen, Megan LaCroix, Kellyn Maguire, Sophia Bellin,o Cory Huff, Wilhelmina Barker, Linda Eaddy, Shelley Danzy, Rosalyn D. Elder, Sonia Spencer Karen Pinzolo Desiree Dansan, Deborah Paige-Jackson, ALKEBU LAN IMAGES Bookstore DeLores M Dyer, Shelia, Harry F Banks, Susan Ross, Dr. Diane R. Miles, Carlton Cotton, Andre Mitchell, Joan L. Ward, JOCELYN BENITA SMITH,\u00a0Paul Robinson<\/b>, Janice Orr, Patricia D Dungy, Ethnie Weekes, Shawn Rhea, Duke Windsor, Runez M Bender, Karen Y House, M Belinda Tucker, Dr. Yonette Thomas, Diana Shannon Young, Judith Hamilton, Julia Turner Lowe, Francene Greene, Caryliss R. Weaver, Sharmon Jane Hilfinger, Bill and Deborah Nix, joyce a, Wanda Baker-Smith, Timothy Gandley, Anneke Schwob, Emily M, Rachael horner, Morris Howard, Marie L Johnson, Ayoka Chenzira, Jean Gumpper, Caitlin Charles, Becca H,.\u00a0Dr. Darlene White,<\/b>\u00a0Dr. Sandra Boyce Broomes, Michele C. Mayes,\u00a0<\/b>Rita Crittenden, Reginald Laurent, Jea Delsarte, Brenda Brooks, Suzette Renwick,\u00a0BEVERLY GRANT,<\/b>\u00a0Linda B. Smith, Judith Bergeron, Emily Hegeman Cavanagh, Teri L Lewis, Cooky Goldblatt, Danni Cerezo, Hollis Turner, cdixon06, Freda Davis, Sarah Caputo, jacki rust, Curtis Morrow, Christina Levine, Jessica Beckstrom, Kim Walker, Pamela Hart,\u00a0Ted Ellis,<\/b>\u00a0Louise berner-holmberg, Carla Sonheim, Nicole Bruce, Alison Deas, Monikapi, Ashley Littlefield,\u00a0Reginald Browne\u00a0<\/b>Bill Cook, SylviaWong Lewis, DONNA PAXTON, Kanika Marshall, Cheyenne, Nancy Maignan, Kimberly Smith, Tracy Russ, Gwen Meharg, K Joy Peters, johnnie mae maberry, Lester Marks, Zishan Evans, Anne king, Dianna A. Harris, Arbrie Griffin Bradley, Sandra Sautner,\u00a0Barbara Brown<\/b>, Bronwen Hodgkinson,\u00a0Sonia Deane,<\/b>\u00a0January Hoskin, Quinton Foreman, Key Mosley, Jim Alexander, Terri Pease, Annette Groschke, Richard MacMillan, D T Ray, Camille, Elayne Gross, Ann Tankersley, Samori Augusto, Karen M Hirsch, Jeanne H Chaney, Jacqueline Konan, Jerome Moore, Patricia Andrews-Keenan, India Still, Luna Cascade, Amy Peck, Marnese Barksdale, Elder Bridgette, Ren\u00e9 McCullough, Kevin and Tracy Burton, Raven Burnes, Kim Dubois, Edwina King Diva E, Charlotte Bender,\u00a0Phyllis Stephens,<\/b>\u00a0Alisa R Elliot, Ebony English, Otto Neals, Michael Nix, Terri Bowles, Nelly Maynard, Leslie Smith, Bernard W. Kinsey, Toby Sisson, Raynard Hall, Milton Loupe, Wren Mckinley, Arturo Lindsay, Lindiwe Stovall Lester, Phil,\u00a0Ricki Carroll,\u00a0<\/strong>\u00a0 Sherman E Jackson Jr, Janine P Rouson, Raynard Hall, Vickie Townsend-Carter, Peter Prinz, PB Fine Art Appraisal, Alison Woods, Suzette Davis, Carlton Cotton, Art Now After Hours, Diane E Leifheit, Tamara clements, \u00a0lisa tomlinson, vince leal, Deborah BarnwellGarr, Sonia Pollard, Barbara Hayes, Loretta Y Blakely, Gregg Y, Paige Jernigan, Randy McAnulty, raven walthor, Will Johnson, jack, Shameika Ingram, Trina Virginia Brooks, Black Wall Street Gallery, Suzanne Roberts, Faye Edwards, Tara, Crystal Green, Sedonia Phillips Kniskern, \u00a0R Simpson, Kate Gadd, Judy Nyquist, Velma McLaurin-Bell, Frazier and Myra O\u2019Leary, Rosemarie Rogers, Elaine Buchsbaum, Hope Elliott, Renee Williams Jefferson, Atiya Slaughter, <\/strong>Stephanie Stephens, Takisia Whites, Robert Taylor, Christina, Taylor Jackson, Brenda Joyner, Dr. Karen Patricia Williams, Paul Daniel Curtis, Zawadi, DJIBRIL N\u2019DOYE, Monique Johnson, Christine J Vincent,\u00a0 Paige Jernigan, Willa Bandler, Valerie A. Cooper, Cordell Boyd, DARRIS L SHAW, Shurvon Haynes, S J, Cynthia Hargrove, THERESA PATTERSON, Kree8tive DJ, and LaShanda Chirunga.<\/p>\r\n

 <\/p>\r\n

\"\"<\/a><\/p>\r\n

We Appreciate Your Support<\/p>

Share this:<\/h3>