{"id":11724,"date":"2022-03-03T18:13:31","date_gmt":"2022-03-03T18:13:31","guid":{"rendered":"http:\/\/media-archive.blackartinamerica.com\/?p=11724"},"modified":"2022-03-04T12:10:55","modified_gmt":"2022-03-04T12:10:55","slug":"summer-of-66-the-indelible-artistic-journey-of-alonzo-davis","status":"publish","type":"post","link":"https:\/\/earthexhibitions.org\/media-archive\/?p=11724","title":{"rendered":"Summer of \u201966: The Indelible Artistic Journey of Alonzo Davis"},"content":{"rendered":"\r\n

Summer of \u201966:<\/h2>\r\n

The Indelible\u00a0Artistic Journey of Alonzo Davis<\/h3>\r\n
By D. Amari Jackson<\/pre>\r\n
Imagine you could travel back in time, to the mid-1960s, amidst increasing urban unrest in major American cities, an active civil rights movement, and emerging Black Power and antiwar activism. Unlike the iconic American popcorn flick, Back to the Future<\/em>, and its trademark DeLorean, imagine your time-shifting vehicle of choice is a light green Volkswagen Beetle stuffed to the gills with sleeping bags and personal belongings. Then imagine you and a family member setting out cross-country on your stated mission to experience African-American art in the making while marching and advocating for civil rights in cities along the way.<\/p>\r\n
Longtime artist Alonzo Davis doesn\u2019t have to imagine; for his remarkable career in art mostly began with such a trip. Perhaps, since he was already teaching art at a Los Angeles high school at the time, it was more of a pilgrimage or a rite of passage into his full 50-year immersion into art education, community service, cultural affirmation, and artistic enlightenment.<\/p>\r\n
\u201cWe decided to take a summer trip in \u201866 to the historically Black communities around the country,\u201d recounts Davis, of that pivotal expedition with younger brother, Dale, to rally for social justice and engage the prominent Black artists of the day. The bearded, bespectacled 80-year-old sits in the study of his Hyattsville, Maryland home framed by a wall of hanging fabric works of art and a ceiling-high bookcase. \u201cWe were in a Volkswagen, and one would drive while the other would sleep in that little seat back there,\u201d laughs Davis, noting \u201cwe made stops here and there for hotel and food accommodations.\u201d<\/p>\r\n
The impact of the road trip was indelible. After visiting numerous cities and meeting the likes of John Biggers, Jacob Lawrence, and Romare Bearden, and marching for civil rights with such activists as James Meredith, the inspired brothers returned to their Los Angeles community and opened Brockman Gallery, the city\u2019s first gallery devoted to the exhibition and sale of Black art. Six years later, the siblings established Brockman Productions, a community-based nonprofit promoting public art projects. The trip further inspired Davis\u2019s own art as he became a leader in the \u201cCalifornia Mural Movement,\u201d culminating with his artistic contributions to the 1984 Olympics. He would go on to serve as dean of both the San Antonio Art Institute and the Memphis College of Art in the 1990s and, today, the Virginia Center for the Creative Arts (VCCA)\u2014where Davis is a fellow and board member\u2014offers the Alonzo Davis Fellowship<\/strong><\/a> to outstanding American writers, visual artists, and composers of African or Latin American descent.<\/p>\r\n
\u201cThe first stop was Phoenix, Arizona to meet Eugene Grigsby, who was an artist out of Morehouse and who had settled in the West,\u201d details Davis, of their encounter with the prominent artist-educator and Ph.D widely recognized for his efforts to increase awareness of African and African-American artists. The year prior, in 1965, Grigsby received an honorary Doctor of Fine Arts degree for his work from the University of the Arts in Philadelphia. \u201cThen we went on to Texas to TSU (Texas Southern University) with John Biggers and a number of the artists in that area, then to Dallas, and then on to Jackson, Mississippi where we had folks take us and introduce us to local artists in Jackson as well as at Jackson State.\u201d Also in Mississippi, the brothers participated in solidarity with James Meredith\u2019s \u201cMarch Against Fear\u201d to encourage African-American voter registration in the troubled state.<\/p>\r\n
\u201cFrom Jackson, we went to Tuskegee, retracing our roots and exploring the Carver Museum and any artwork that was a part of the Tuskegee Collection,\u201d continues Davis, acknowledging the Alabama town where he and his brother were born. The children of Tuskegee University educators\u2014their father taught psychology and education, their mother, a librarian\u2014the two spent their formative years on and about the campus. Though segregated, Tuskegee was a college town, and he and Dale grew up seeing Black educators, Black professionals, and even Black wartime aviators in the legendary Tuskegee Airmen on a daily basis while hearing of the many contributions of African Americans. \u201cI remembered, as a kid, we learned about ceramics and also the brickmaking history of Booker T. Washington.\u201d<\/p>\r\n
From their birthplace it was on to the Atlanta University Center where their grandparents had once attended Clark and Morris Brown; to North Carolina Central University in Durham to engage artists on campus while visiting their dad who taught there; to D.C. and Howard University where they met with recent graduate, artist, and filmmaker, Topper Carew, who had just established The New Thing Art and Architecture Center to teach inner city youth; then to Philadelphia and New Jersey where they engaged with several more artists before arriving in New York.<\/p>\r\n
\u201cWe met Romare Bearden and were introduced to Jacob Lawrence and a number of artists from the Spiral community that Bearden had initiated,\u201d recalls Davis, noting how these legendary New York-based artists were \u201cvery generous with their information and shared with us. We were two naive young men as I had just finished college a few years prior, and my brother was still in college.\u201d<\/p>\r\n
The cross-country travelers rounded out their remarkable journey by driving through southern parts of Canada and dropping down to see a series of murals by Diego Rivera at the Detroit Institute of Arts before heading to Chicago where Margaret Taylor-Burroughs had established both the South Side Community Art Center and what is now the DuSable Museum of African American History. After viewing more murals at the Art Institute of Chicago, \u201cthat pretty much wrapped up the trip,\u201d remembers Davis, stressing the \u201clong<\/em> road home from Chicago. So we are driving through what I would call the cornfields and the desert to get back to Los Angeles and we thought, \u2018Wouldn\u2019t it be great if we could open an art gallery?\u201d<\/em><\/p>\r\n
\"\"
Alonzo, Dale & Dad in front of Brockman Gallery in Los Angeles<\/p><\/div>\r\n
It was not the first time the siblings had traveled west from Chicago to southern California. A decade prior, in 1956, the 14-year-old Davis relocated with his mother and brother to Los Angeles upon his parents\u2019 split. Unlike the segregated, cocoon-like college town they\u2019d left behind, the trio arrived in an integrated and diverse southern California community where racially restrictive housing covenants had been done away with less than a decade prior. Consistently, in school, the boys experienced a variety of cultures and ethnicities including Japanese kids who had endured World War II internment camps, white students whose parents worked at the nearby University of Southern California, and the Black children of parents working long hours at the U.S. Rubber Company (now Uniroyal).<\/p>\r\n
Four years later, Davis would remain in the state to attend college at Pepperdine University in Malibu where he became disenchanted with the skewed Eurocentric narrative dominating his coursework in art history. This glaring lack of cultural representation\u2014further highlighted by his prior travels to several African countries and further contextualized by the nearby 1965 Watts Rebellion and the social inequities that sparked it\u2014would remain an important contributing factor as Davis planned his 1966 summer break from teaching art at a Los Angeles high school.<\/p>\r\n
In a February 2016 interview in Medium,<\/em> Dale, four years younger and still in college during the rebellion, recalled the precarious atmosphere and how the guarded curfew area went from Watts \u201call the way to Crenshaw\u2026 Basically, you had to show ID to go home, to go to school. At the time I was a student at LACC (Los Angeles City College) and I had no idea that I would be subject to that kind of lockdown,\u201d explained Dale, characterizing it as \u201ca major surprise.\u201d He noted that, because of the events in Watts, \u201call the African Americans in the city were subject to the same kind of issues and stereotypes.\u201d<\/p>\r\n
The brothers were looking for something different for their city upon their return at summer\u2019s end in \u201866. Though energized by their trip and their gallery idea, they quickly resumed their normal academic lives until Davis decided to take the day off from his teaching job at Manual Arts High School. \u201cI went to Leimert Park and ran into a brother there named David Bradford who was teaching at Watts Towers Arts Center,\u201d recounts Davis. \u201cAnd David said, \u2018You know, there\u2019s a little studio kind of storefront down the street. You ought to go check it out.\u201d Curious, Davis did just that and \u201call of sudden, that conversation between Chicago and Los Angeles started to percolate as I saw that this little studio would make a great art gallery.\u201d<\/p>\r\n
Upon telling Dale and \u201ckicking the idea around a bit,\u201d the brothers were intrigued. However, their mother was not. \u201cMy mom said, \u2018you don’t know what you’re doing,'” recalls Davis, with a slight smile. \u201cAnd I said, \u2018but I got in touch with the guy that owns the property, and he gave me this lease form, and I could rent it.\u2019 And she said, \u2018well, you better take that next door to Mr. Parks. He\u2019s a lawyer, so let him check it out and see what he says, \u2018cause you<\/em> all<\/em> don\u2019t know what you\u2019re doing.’\u201d<\/p>\r\n
\u201cAnd she was right,\u201d laughs Davis.<\/p>\r\n
Despite their lack of knowledge and experience opening a business, once they got the blessing of Mr. Parks, the committed duo opened the gallery in spring 1967 and \u201clearned by the seat of our pants.\u201d They named the gallery \u201cBrockman,\u201d which was Dale\u2019s middle name, their mother\u2019s maiden name, as well as their grandmother\u2019s maiden name. \u201cNeither of us had taken business courses in college and we didn’t know anything about marketing, but I knew art, and my brother had a sense for business,\u201d says Davis, acknowledging that \u201cwe did grow up with that spirit of \u2018we can make it on our own.\u2019 And we knew there was no stopping us based on color, because we had lived the kind of life we did in Tuskegee.\u201d<\/p>\r\n
This time, Davis was right. They had entered a space where there was little before it and no competition, and Brockman Gallery rapidly became the center of a community of Black artists due to a previously underserved community and tireless networking by Davis. The 4334 Degnan Boulevard gallery provided a much-needed hub, haven, and venue for artists of color denied the city\u2019s mainstream galleries and museums. It engaged the local community and supported artists by offering studio space, exhibits, mural projects, film festivals, community discussions, neighborhood festivals, concerts, trips, and collaborations with other arts entities. It spearheaded the effort to bring about a thriving Black arts and business center in the city\u2019s Leimert Park neighborhood. Over time, it launched the careers of countless new artists and buoyed the careers of established artists, featuring the likes of such creative luminaries as David Hammons, John Outterbridge, Noah Purifoy, Elizabeth Catlett, Romare Bearden, Charles White, Betye Saar, and many more.<\/p>\r\n
\u201cBrockman Gallery was a hub for a lot of African-American artists, especially in California, but all over the country,\u201d says Raymond Holbert, a longtime Berkeley, California-based artist and art professor. Holbert met Davis in the early \u201870s as they were part of the same circle of creatives and professionals, with Brockman subsequently showcasing Holbert\u2019s work and the two traveling the long state in opposite directions to network. \u201cAlonzo was more of a very versatile mover and shaker at that point more than anything given he not only knew artists and how to deal with artists, but how to exhibit, how to promote, while also understanding the business aspect of art,\u201d explains Holbert. \u201cMost artists know very little about the business unless they\u2019re in the gallery business where they pay much more attention to the significance of sales and what pieces are doing and so on. So he is the person who could actually settle in any one of those areas and be an expert, be it promotion, galleries, or the artwork itself.\u201d<\/span><\/p>\r\n
\"\"
Image courtesy of Alonzo Davis<\/p><\/div>\r\n
Even when competition did arrive for Brockman Gallery, the Davis brothers saw an opportunity to collaborate rather than compete. In March 1969, painter and ballet dancer, Suzanne Jackson, opened Gallery 32 not far away. The two galleries ended up coordinating their openings to fall on the same weekends, sharing both artists and collectors.<\/p>\r\n
\u201cWe\u2019ve just been really good friends keeping up with each other throughout the years,\u201d acknowledges Jackson, pointing out \u201cwe have birthdays within two days<\/em> of one another.\u201d Though Gallery 32 only stayed open for two years, its impact was historic given its presentation of the first Los Angeles survey of African-American women artists, its dedicated community service, and its fundraising efforts for organizations like the Black Panther Party, the Black Arts Council, and the Watts Towers Children\u2019s arts programs. \u201cMy space was basically an accident that happened because some artists saw a big space and thought they\u2019d like to have a show there,\u201d reports Jackson. \u201cBut the Brockman Gallery was very organized and run very well by Alonzo\u201d as they had a family-run \u201cboard of directors and were really structured.\u201d<\/p>\r\n
After voluntarily closing her gallery, moving away, then returning to Los Angeles in the mid-70s, Jackson was hired by Davis as the artist coordinator for Brockman Gallery under the government-sponsored CETA (Comprehensive Employment Training Act) initiative. The two worked closely together to organize the program and write proposals for the artists working under the public art program. \u201cAlonzo has been consistent in supporting artists one way or another and making space and organized programs available for artists,\u201d stresses Jackson, detailing how Davis \u201chad a series of studios that he rented where an artist could actually have studio space there along with the gallery.\u201d She goes on to reference Davis\u2019 current A.I.R. Studio Paducah<\/strong>,<\/a> an artist-in-residence studio and apartment located in the Lower Town Arts District of Paducah, Kentucky. Under Davis\u2019s residency program, artists working in a range of creative disciplines can access the time and space for focused, independent work and the development of new ideas and experimentation.<\/p>\r\n
\"\"
Brockman Gallery<\/p><\/div>\r\n
For Davis, even with the prominence of Brockman Gallery, the journey continued. At the end of the 1960s, he returned to school and, in 1973, received his Master of Fine Arts in Printmaking and Design at Otis Art Institute. \u201cThe reason I went back to Otis was because Charles White was an instructor there,\u201d reports Davis, noting \u201cthat\u2019s how I got to know Charlie on a one-on-one basis. Charlie had a number of students who subsequently were working artists\u2014David Hammons, Timothy Washington, Richard Wyatt, Stanley Wilson, Nathaniel Buston\u2014and all came out of that influence. So, all of a sudden there was just a fusion of attention to what had been Charlie\u2019s work that focused on the African-American experience,\u201d says Davis, acknowledging \u201cwe were all influenced by Charlie in different ways.\u201d<\/p>\r\n
\u201cI struggled with our communication,\u201d admits Davis, of his late mentor, but \u201cone of the things Charlie said to me that has left a lasting impact on what I do as an artist is, he said, \u2018Davis, your work is all over the place. You need to work in a series where you exhaust a thought.\u2019 And from that point on, I have continued to work in developing a series or body of work that explores exhausting a thought, so to speak, or pushing a body of work as opposed to doing one thing and then jumping to the next.\u201d<\/p>\r\n
In 1984, almost two decades after his cross-country trip had inspired him to paint murals around Crenshaw, Davis\u2019s spearheading of the \u201cCalifornia Mural Movement\u201d culminated with his historic contribution to the 1984 Summer Olympic Games. The brothers\u2019 community-serving nonprofit, Brockman Productions, which had already designed the city\u2019s famous Crenshaw Wall, won \u201ca contract with the \u201884 Olympics to do concerts in the venues, and the murals along the Hollywood and Harbor freeways. And that was sort of the end for me in terms of that particular public art effort.\u201d Davis\u2019s famous Eye on \u201984<\/em> was one of ten murals on the walls of the downtown Los Angeles Harbor Freeway.<\/p>\r\n
\"\"
Alonzo Davis in front of ’84 Olympics mural<\/p><\/div>\r\n
Upon leaving Los Angeles in 1987 to focus more on his own art\u2014and weary from the politics of running a commercial operation as the brothers would decide to close Brockman Gallery two years later, which then consisted of four storefronts and several artist-in-residence spaces\u2014Davis continued to travel extensively, a habit that has significantly influenced his own artistic efforts. After serving as the interim director of the public art program for the city and county of Sacramento, Davis traveled to Hawaii on a painting fellowship where he \u201cwas greatly influenced by the cultures of the Pacific rim\u201d including the \u201cM\u0101ori people, the aboriginal people, and the peoples of Micronesia\u201d as well as others. Combined with his multiple trips to Ghana, Nigeria, and Togo, and several trips to Europe, Mexico, and countries in central and South America, these experiences further shaped his artistic lens on life. \u201cSo my work is influenced by those travels as well as by the Native American communities in the western part of the United States,\u201d acknowledges Davis. \u201cAll those things kind of entered into my creative language, so to speak.\u201d<\/p>\r\n
\"\"
Courtesy of Alonzo Davis Studios<\/p><\/div>\r\n
After spending over a decade in academia, winning and funding fellowships, and relocating to Maryland, the Hyattsville resident is currently focused on his own work while continuing to mentor and support young artists and art administrators. Employing traditional African patterns, colors, and references in his mixed media sculptures, Davis produces collages, woven paintings, and prints<\/strong><\/a> from such materials as copper, rawhide, leather, and bamboo, the latter being \u201ca worldwide material that\u2019s everywhere. It\u2019s a grass, it\u2019s very strong. In Malaysia they\u2019ve built scaffolding for high-rise buildings using bamboo. So it\u2019s a very flexible material\u201d and it has \u201cbecome a part of my creative language and expression.\u201d<\/p>\r\n
Social justice has ever been a part of Davis\u2019s creative language and expression. He recently received funding to produce a mixed media series<\/strong><\/a> to address current social justice issues. \u201cThere was a call for a social justice project from the Puffin Foundation out of New Jersey and I applied and was awarded a fellowship,\u201d says Davis, who did a series of<\/strong> pieces highlighting<\/strong><\/a> \u201cpolice brutality against brothers. I mean, we\u2019re still fighting that today, so I used bulletproof vests to say that we need to protect ourselves against them.\u201d<\/p>\r\n
Davis\u2019s inspired work and ongoing mentorship continues to inspire others.\"\"<\/p>\r\n
\u201cHe is very passionate about, not only the work he does, but supporting others who are also interested in becoming a part of this arts ecosystem, whether that\u2019s helping them in their career trajectory as artists or helping art administrators like myself,\u201d says Ashley McDonald, currently the Assistant Manager of Career and Alumni Services at the T. Howard Foundation, an organization promoting diversity in media and entertainment. Trained in art administration, McDonald met Davis 11 years back at the Brentwood Arts Exchange in Maryland. She reiterates his promotion of \u201cothers who are trying to find a way or make a way within the art field, and I think it really motivates him and keeps him going.\u201d<\/p>\r\n
\u201cAlonzo has taught me the importance of travel and patience,\u201d says artist Kia Paxton, Davis\u2019s studio assistant. Paxton has known the acclaimed artist-educator for eight years and has worked with him for the past three. \u201cTravel has a very heavy influence on Alonzo\u2019s work and, over the years working with him, I\u2019ve been able to travel and see how art has impacted different cultures. As far as patience, he\u2019s taught me that artwork is work<\/em>,\u201d laughs Paxton, noting how the phrase is \u201cbasically his motto. But it\u2019s work that you have to fully commit to in order for it to work for you.\u201d The young artist goes on to stress how Davis promotes and models the concept of having \u201cpatience with ideas and pieces. You may make a mistake on a piece but, instead of scrapping it and starting over, you have to figure out how to work it. Since he works in series, if he\u2019s stuck on a particular piece, he\u2019ll take a break and come back to it when he\u2019s figured out what to do, or sometimes he\u2019ll just experiment until it\u2019s something he thinks works.\u201d<\/p>\r\n
\u201cIt\u2019s fascinating to watch him work and to have seen how much he\u2019s done in the art world over time,\u201d continues Paxton, further characterizing Davis as an \u201camazing mentor\u201d before adding \u201cit\u2019s an honor to work with him.\u201d \u00a0<\/p>\r\n
Still, despite his remarkable resume and how much he\u2019s done in the art world, Alonzo Davis is ever looking to the future. Like the transformative journey with his brother in the summer of 1966 that sparked his legendary half-century career in art, you still get the feeling the 80-year-old visionary is loading his bags into his light green Volkswagen Beetle and just starting out cross-country to take on the artworld while slaying injustice along the way.<\/p>\r\n
When asked what his sizable legacy will be, his immediate response is as blunt as it is telling:\u00a0\u201cI don\u2019t know,\u201d offers Davis, shrugging slightly, as if the question has no bearing on his daily existence or future possibilities.<\/p>\r\n
\u201cI don\u2019t have an answer for that,\u201d he adds, eyes twinkling.<\/p>\r\n
\u201cI\u2019m still living.\u201d<\/p>\r\n
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Alonzo Davis in Studio<\/p><\/div>\r\n
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Cooper, Cordell Boyd, DARRIS L SHAW, Shurvon Haynes, S J, Cynthia Hargrove, THERESA PATTERSON, Kree8tive DJ, LaShanda Chirunga, Anita Askew Wharton, Paula deJoie, Cyderia Gates, Patricia S. Kearse, Eunice Sykes, Sharyn Welch, Chris McNew, <\/strong>Rita Alston, Rebecca Smith, Patricia Goodwin, Mikal Aziz, Rayhart, Patric McCoy, Kimberly Esmond Adams, Shakira Pollard, Arelia Jones, Vernestine Laughinghouse, Bridget Griffin, Tanya Desdunes, Gregory M Glore, Sharon Butts, Alnita Ann Holder, Victor W. Brown, Cheryl Polk, Tsedey Betru, Dwayne E. Parker, Eric T McKissack, Kassi De Luna, Jalisa Whitley, Shavaughn Buckley, Diana Mbr, Derek Nichols, Jewell T. Williams, Susie Johnson, Jessica Bickett, Diana L Chambers, Jenae Gayle, Dindga McCannon, Dr. Dorothy B. Conteh, Gwen Meharg<\/span><\/p>\r\n
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