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San Antonio Ethnic Arts Society Y 30th Anniversary Exhibition Z
San Antonio Ethnic Arts Society: 30th Anniversary Exhibition John Coleman, Glen (Frank) Franklin, Carthelya Ann Harris, Claudette Hopkins, Paul Hurd, Carmen Cartiness Johnson, Gracie Poe, Trudy Rafelson, Howard Rhoder, Cecilia Z. Schwartzott, Ronney Stevens, Ronn Turner and Allee Wallace Curated by Scott A. Sherer, PhD and Elizabeth Abston Published on the occasion of the exhibition San Antonio Ethnic Arts Society: 30th Anniversary Exhibition at the UTSA Art Gallery, The University of Texas at San Antonio. June 5 - August 9, 2013 ISBN: 078-0-9831130-5-8 Editor: Scott A. Sherer and Elizabeth Abston Designer: Cornelia Swann Photography: Courtesy of artists Cover Image: Ronney Stevens, Big Momma and Aunt Honey, pastel on sanded paper, 18” x 24”, 2004 This exhibition is sponsored in part by: Elizabeth Huth Coates Charitable Foundation of 1992
© 2013 Art Gallery, The University of Texas at San Antonio All rights reserved. Printed on recycled paper.
Printed on recycled paper.
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San Antonio Ethnic Arts Society Y 30th Anniversary Exhibition Z
CREATIVITY AND COMMITMENT Aaronetta Hamilton Pierce
was the flower of life and, despite the years of ill-treatment, “Art Black artists were among its most glorious blossoms. ” - Maya Angelou, All God’s Children Need Traveling Shoes
Art is a creative expression that emanates from the human spirit. It is vitally at the core of life. Countries, cultures, communities and ethnicities are defined, inspired and influenced by their artists. Any remembrance of America that does not include the rich contributions of African Americans is disingenuous. The art world is no exception. Creativity is a force of nature that is color-blind. The art of Africa is often offered a place of stature in many American museums and their sculptures have influenced great American artists. However, the art of African descendants who traveled the middle passage to become enslaved in America have struggled in their freed status to find respect and recognition for their artistic expression. For most of the past two centuries, the exhibition of the art of African Americans was as separate and unequal as were the Jim Crow laws that defined their everyday lives. Young students who traveled to a major Texas museum in the first seventy years of the twentieth century were unlikely to see a work of art by an African American. In the 1970’s three major Texas museums stepped outside of their traditional spheres by exhibiting art by African Americans. They were the 1970 exhibition at the McNay Art Museum of the art of Henry O. Tanner and the 1976 Bicentennial exhibition, Two Centuries of African American Art, whose national tour included a venue at the Dallas Museum of Art and for which the catalog by art historian David Driskell became a major reference for African American Art. And the
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third exhibit was in 1978 at the Institute of Texan Cultures of the art of John Biggers. These three exhibits were very powerful and were great examples for a beginning effort. However, as substantial and meaningful as these exhibits were, their wide span of locations and years made it difficult to develop momentum. For years it seemed that the goal was to convince the mainstream art world of museums, galleries, and art critics that the art of Americans of African descent deserved their attention. After all, were we not part of the same body of humanity and were we not citizens like other Americans? Did not we also pay taxes that supported our public museums? One could wonder where were the footprints of African American artists when it was still the exception in Texas to see African American artists’ works permanently represented in public and private museums. In 1970, my husband Joe and I returned to make San Antonio our home after a three year military tour in Europe. While in Europe, we were engaged at every turn with the value of art on a country and its people. This was actually a shared experience that had been nurtured in us in our childhoods. Having grown up in the segregated south in the forties, fifties and sixties, we were nourished by the cultural programs of the Black colleges where our parents taught—Tennessee State University and Fisk University in my native Nashville, Tennessee, and for Joe, the Atlanta University System in Atlanta, Georgia and later Texas Southern University in Houston, Texas. We separately saw the exhibitions and murals of artists like Henry O. Tanner, Aaron Douglas, Hale Woodruff and John Biggers. Our communities planted in us a foundation on which we could build pride, self-worth, aesthetic appreciation and historical associations. As we looked around our new community, we wanted similar experiences for our children and other children. We believed in the power of the visual, performing, and literary arts to teach us
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our history, to reinforce common values, and to encourage selfesteem. Sadly there are too many children of color today who are disrespected and disenfranchised by a society that fails to see their need. Such was the climate in San Antonio in the early 1980’s when a few local African American artists were emerging with a desire to connect with one another. We began to search out these artists— often by word of mouth. We wanted to encourage them, to acquire their art, and to nurture their spirits. We were also pleased to connect with others who sought like-minded patronage of these artists. As we spent more time with the artists, the idea for an organization evolved and on January 10, 1984, with historian Gary Houston and artists Johnnye Yates, John Coleman and F.L.“Doc” Spellmon as charter members, and with an audience of artists and patrons, we held a formal induction of the “Southwest Ethnic Art Society” (SEAS). It was so named in order for the group to be open to members from neighboring cities, but later changed to the “San Antonio Ethnic Art Society” as the group found sufficient patronage within the city. The longevity and prosperity of the group is due to the dedication of the artists. Newcomer artists to the community have been welcomed. Annual group exhibitions and individual exhibitions at the Carver Community Cultural Center and St. Philip’s College have been valuable and instructive. They have given the artists much needed opportunities to be viewed, critiqued, documented and purchased. SEAS gives back to the San Antonio community as it hosts an annual “Lunch with the Artists,” the proceeds from which allow them to award scholarships for art classes for young students. Members mentor young people, speak to school groups and participate in numerous workshops. Special recognition is extended to Claudette Hopkins and Gracie Poe for their long
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tenures as presidents of SEAS. Their service and leadership have insured continuity and purpose. Additional thanks to John Coleman and Paul Hurd for their many years of commitment to SEAS. Our community is richer because of the presence of the artists of SEAS and the artists are fuller because of their association with each other. They speak to a cultural legacy with a powerful and unique voice. They add to the diverse cultural landscape of San Antonio. Today, San Antonio’s public and private museums are hosting more exhibitions featuring African American artists than in earlier years. These exhibits educate our entire community and offer opportunities to study and appreciate critically acclaimed historical and contemporary artists. This 30th Anniversary Exhibition at The University of Texas at San Antonio demonstrates the vitality of SEAS. With enormous pride, we view the spendid work of the artists of SEAS, the growth and the camaraderie of the membership and the dedication of these artists to creative endeavor.
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John Coleman Across multiple bodies of work, John Coleman’s paintings reveal him as a master of color and narrative composition. His vignettes capture everyday life, both past and present, and sometimes reference more tenuous times in American history. Themes range from perseverance in the face of slavery to race relations in the civil rights era. Ice Cream Stand is both nostalgic and captivating as it suggests an almost universal childhood memory.
Ice Cream Stand, oil on canvas, 24� x 30�, 1997
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Glen (Frank) Franklin Glen (Frank) Franklin’s watercolor and acrylic paintings represent a range of evocative and everyday images of African American experience. He paints figures in a range of settings, from scenes that suggest bygone times to today’s frameworks. His works depict strong relationships and solidarity, and single subjects, such as The Last Hobo, suggest narratives of independent lives, hard work, and optimism. Franklin’s skills are in evidence in his textural rendering, from weathered faces and hands of his subjects to the shadowy movement of their clothing, giving personality to the material.
The Last Hobo (detail), oil on canvas, 22” x 28”, 2008
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Carthelya Ann Harris Although some of her past work is figural, some of Ann Harris’s strongest works are in the Abstract Expressionist vein of bold nonobjective compositions. Her wall hangings are sculptural textiles that extend from the wall plane in intricately twisted compositions. Universal themes hint at African cultural influence, but process is as integral to her work as the finished product. Hours of meticulously dying the yarn and hand-knotting each section are invested in each sculpture. Though Harris might begin with a rough idea of how she wants a piece to ultimately appear, a composition will begin to reveal itself only as she actively works. The Female (detail), hand dyed jute, 34”x48”, 1985
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Claudette Hopkins Working predominantly in soft pastel, Claudette Hopkins has long focused on portraying the beauty of black women, a subject she feels deserves more attention in the art world. Her subjects are dancers, mothers, models, and children—faces that appeal to her imagination and experiences. Hopkins likes to “intensify life as she sees it,” with her realistic portraits. Emphasis on facial details and the sensuous lines of bodies distinguishes her work and maximizes the personalities of the figures. Hopkins served as president of SEAS for fifteen years.
The Christmas Bride (detail), pastel on paper, 32” X 24”, 2011
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Paul Hurd Paul Hurd is a self-taught sculptor and, above all, a storyteller. His artistic interests span from clay sculpture, woodcarving, and furniture with one-of-a-kind artistic motifs to religious iconography that fuses his own style with the influence of southwestern and Latino themes that derive from his many years in San Antonio. Consisting of both single figures and multiple groupings, these clay arrangements convey narrative themes that range from commentary on social mores to representations of cultural heritage. Jawbonin’ depicts elders commenting on the attitudes of a younger generation.
Jawbonin’ (detail), hand painted clay, 1987-88
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Carmen Cartiness Johnson The relationship between setting and figure is integral to Carmen Cartiness Johnson’s paintings. Her work glorifies the bonds formed in many cross-sections of American life—front porches, back alleys, church grounds, and cafes. The stories she tells stem from memories and connections made throughout her life, and her figures convey expressive body language and suggest vivid movement. Johnson’s color palette contributes to the unique character of the people and places she depicts. In other series, she pursues abstracted compositions that combine musical themes and organic elements.
Too Many Cooks, acrylic on canvas, 2004
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Gracie Poe Current president of SEAS, Poe’s work draws heavily from African motifs, balancing aesthetic and cultural appreciation for the ceremonial traditions from that continent. Poe’s vessels are functional but emphasize design and storytelling. Journey is an example of her interest in fusing the narrative and the visual; it begins with reference to African history, moves onward to the shackles of slavery in the United States, and culminates with freedom and hope. Poe also uses clay and found objects to create dramatic wall hangings, referencing African masking and sculptural styles fused with her own designs and sometimes her own poetry. Our Journey, clay, black iron oxide with acrylic, 10”x14”, 2011
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Trudy Rafelson The human form has long been the subject of Trudy Rafelson’s sculptural work. Often working from live nude models, Rafelson has experimented with a variety of media to express the inherent beauty of the human figure. Her works range from academic realism to abstracted forms that are more totemic and stylized, and fragmentation of the form reveals her interest in the cultural diversity of ancient art forms. Rafelson is currently in the process of pursuing her interests in metalsmithing, drawing inspiration from indigenous crafting arts and their relationships to the body. Roman Head, white stoneware, 6 1/4”x 3 1/2” Greek Head, terracotta, milk stain, 4 1/2”x3 1/4”
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Howard Rhoder Though Howard Rhoder can be described as a landscape and portrait artist, he is particularly adept at painting memories. These memories of people and places are revealed through hyper-realistic handling of his oil paints. His style heightens the vitality of his subjects while enabling interpretations to remain elusive and evocative, such as in the paintings of a family home and that of a neighbor’s from the small town in Texas where he was raised. Other artistic interests of Rhoder’s include painting jazz and blues musicians and African landscapes.
New Friends (detail), 24”x 30”, oil on canvas, 2012
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Cecilia Z. Schwartzott Cecilia Z. Schwartzott travels around the world with her camera, seeking to transfer the beauty of the scenery surrounding her onto a tangible window for her viewers to experience. Often, her work casts sweeping landscapes against traces of man-made elements to suggest a dialogue about nature’s existence before human intervention. An intriguing body of work involves highdefinition astronomical photography of the moon and night sky. Eschewing digital manipulation, Schwartzott uses telescopes and high-powered lenses to capture celestial movement. Circumpolar II 2/10, Junction, Texas, USA digital photography, 13”x 19”, 2007
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Ronney Stevens Ronney Stevens uses soft pastel to create his portraits, from homages of celebrities to sensitive portrayals of family members. He has honed his skill and technique to achieve the smoothest gradations of tone that create an intimacy in the scenes within the borders of his works that, in turn, extends to his viewers. His compositions emphasize the strong characters of his subjects. Stevens’ work transforms realistic representations into commentary about the strength of personal and family values and traditions.
Big Momma and Aunt Honey, pastel on sanded paper, 18�x 24�, 2004
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Ronn Turner In addition to pursuing his passion creating fine art, Ronn Turner designed the civil rights memorial for Phoenix’s Eastlake Park. His paintings involve themes of African American culture and spiritual redemption and often contain figural elements that are rendered in bold, graphically styled compositions. Turner is interested in many aspects of the art world, from creating his mixed media works to graphic design, website development and running an independent gallery.
Praise Him (detail), mixed media on canvas, 24”x 36”, 2013
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Allee Wallace Photography allows Allee Wallace to be both an artist and a documentarian. He is inspired by his surroundings, whether beautiful San Antonio architecture or community events featuring the people who live here. In recent work, Wallace enhances the vividness of the environment, adding an element of fantasy to his compositions such as in his photographs of the Japanese Tea Garden at San Antonio’s Brackenridge Park. His documentary work, such as images of the Martin Luther King, Jr. Day parades and Easter Passion Plays, present the subject matter as well as the commitments of the participants. Japanese Tea Garden - The Bridge, digital print, 13” x 19”, 2008
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CURATORIAL STATEMENT The San Antonio Ethnic Arts Society is a remarkable organization. For over 30 years, a diverse group of individuals has shared a commitment to creative exploration and to promoting the arts. SEAS demonstrates the vibrant character of the local art scene and maintains a scholarship program and mentoring for gifted children in the 5th-12th grade to pursue their dreams in the arts. While active membership has varied over the years with the pressures of family and career, SEAS continuously grows with new members who regularly exhibit their works in a range of venues. Over the last year, I have had the good fortune to get to know and visit the studios of current SEAS artists. Some of them have been making art since childhood, while others have returned to their passions in the valuable moments set aside from obligations. Each has been generous taking the time to talk about their work, sharing examples of older series from storage and discussing new projects just getting started. Across the group as a whole and within members’ unique histories, themes and treatments are wide-ranging. Inspiration comes from personal stories, investigation of African American history and the umbrella of American culture, fascination with the singular beauty of individuals and special places, and the possibilities inherent within art-making methods, materials, and forms. The members of SEAS provide a model of creative excellence and community involvement. The University of Texas at San Antonio is proud to have the honor of hosting this 30th Anniversary Exhibition. — Scott A. Sherer and Elizabeth Abston
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