Protétéges: The Legacy of Dr. John Biggers

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

january 19 - february 10, 2018

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ARTWORKS OF 13 STUDENTS

on view: january 19- february 10, 2018 opening reception: saturday, january 20, 6:00-8:30pm gallery talk - dr. alvia wardlaw: saturday, january 20, 4:30-5:30pm 2 1 4 3 T u e s d a y

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PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

This exhibition will serve as a cursory look into thirteen artists who studied under the creative guidance of Dr. John Thomas Biggers (1924-2001), Master Artist, Educator, Author, and Mentor, who has been a major contributor to the evolution of American art and culture as well as the changing consciousness of the African American experience. Dr. Biggers came to Houston in 1949 after receiving his Bachelors, Masters, and Doctorate from Pennsylvania State University. Here, he worked hard to establish the Art Department for Texas Southern University, where “… all students may gain an appreciation of the cultural, historical and educational values of the arts; and where cultural awareness translates to the community.”

instructor whose mark is evident in the works on display. It is our hope that this will be the continuation of a renewal of interest and appreciation for the artistic legends living in our great city. Aside from TSU’s annual Alumni exhibition– which has given a public platform for these artists to introduce their work to the public; one recent and critical exhibition, On My Journey NowThe Legacy of John Biggers, took place in Spring 2017.

The exhibition was curated by Sally Reynolds for Arts Brookfield and was held at Two Allen Center. This was the first time Dr. Biggers Legacy was examined in a public space in Houston outside of TSU in decades. Several of his students from TSU were included in the curated show.

Houston in the 1950s experienced an institutional lack of support for the arts and arts education, with African American and Hispanic arts facing the greatest marginalization. During his 34 years as an influential educator and champion of arts education in all its forms, Dr. Biggers nurtured generations of artists, and built a foundation for a steadily growing appreciation for these under-known artists; all the while building a significant body of work that made him a pioneer in the broader world of American art.

For twelve years, the idea for this exhibition has been percolating with a deep interest on the parts of both Gallerists at William Reaves | Sarah Foltz Fine Art. With this exhibition, we aim to narrow the focus of the lens on Texas Art, and to bring these selected artists together in a commercial venue. We are honored to facilitate these introductions to the public and to collectors of all genres.

These thirteen artists lives, careers, and art have been affected by the support they received from their

-Sarah Foltz WRSF

No.

Artist

Title of Work

Date

Medium

Size (inches)

ProtĂŠgĂŠs: The Legacy of Dr. John Biggers as Viewed Through the Art Works of 13 Students 1. Charles Criner

Close Encounter 2

2. Charles Criner

Eating Summer Sausages

3. Charles Criner

Fighting the Insects

4. Charles Criner

Ms. Willie John

c. 1970

acrylic on canvas

12 x 10

5. Charles Criner,

The Night Watchmen

c. 2015

acrylic on paper

30 x 22

6. Charles Criner,

Putting on Her Favorite Hair

2017

lithograph on paper

30 x 22.5

7. Charles Criner,

Starry Night

2014

acrylic on paper

28 x 20

8. Charles Criner,

Tangled Hooks

2006

lithograph on paper

40 x 20

9. Charles Criner,

Working Friday Night

2014

acrylic and lithograph on paper

30 x 20

10. Charles Criner,

Young Girl and the Sea

2012

lithograph on paper

22.5 x 30

11. Charles Criner,

Zydeco Mama

2017

lithograph on paper

30 x 22.5

12. Geri Crossland

Mural Study for Eden

1973-76

oil on masonite

16 x 35

13. Geri Crossland

Vessel 1

1973-76

ceramic

4 x 10

14. Geri Crossland

Vessel 2

1973-76

ceramic

2.5 x 8

15. Geri Crossland

Vessel 3

1973-76

ceramic

2x9

16. Geri Crossland

Cylindrical Vessel

1973-76

ceramic

8x7x7

17. Geri Crossland

Round Vessel

1973-76

ceramic

8.5 x 5 x 5

18. Geri Crossland

Turtle

1973-76

ceramic

4.5 x 10 x 6

2014 c. 2015 2006

lithograph on paper

22.5 x 30

acrylic on paper

30 x 22

mixed media on paper

20 x 30

19. Geri Crossland

Orange Weaving

1973-76

weaving

72 x 15 x 6

20. Karl E. Hall

Aqua Shadow

1978-9

monotype

30 x 22

21. Karl E. Hall

Cowboy

1978-79

acrylic on paper

30 x 22

22. Karl E. Hall

Flatonia, Texas

1978-79

monotype

30 x 22

No. Artist

Title of Work

Date Medium

Size (inches)

ProtĂŠgĂŠs: The Legacy of Dr. John Biggers as Viewed Through the Art Works of 13 Students 23. Karl E. Hall

Going to Church,

2015

acrylic on paper

27 x 37

24. Karl E. Hall

Plant Your Seed

1978-79

mixed media on paper

27 x 21

25. Karl E. Hall

Knock

1978-79

monotype

30 x 22

26. Karl E. Hall

Flock Together

1978-79

monotype

30 x 22

27. Karl E. Hall

Hear and Stand

2013

acrylic on board

16 x 20

28.

Karl E. Hall

A Fruitful Air

2015

acrylic on board

24 x 36

29.

Karl E. Hall

Praise & Dance

2013

acrylic on board

24 x 37

30.

Earlie Hudnall Jr.

Lady in Black Hat with Feathers

1990

gelatin silver print

20 x 16

31.

Earlie Hudnall Jr.

The Wood Chopper

1986

gelatin silver print

20 x 16

32.

Harvey Johnson

The Bell Done Ring, Lift Every Voice and Sing!

2011

oil on canvas

40 x 30

33. Harvey Johnson

Daughter of Eternal Ligh

2003

acrylic and oil wash on canvas

40 x 30

34. Earl S. Jones

Family Bonds

nd

oil on masonite

34.5 x 24.75

35.

Earl S. Jones

Joined at the Hip

2017

oak

32.5x10x14.5

36.

Earl S. Jones

Harmonious Bliss

2016

ash

26 x17x14

37.

Earl S. Jones

New Day

1976

terracotta

37.75 x 16.5 x 23

38. Earl S. Jones

Bird in Flight

2015

ashwood sculpture

40 x 16 x15

39. Earl S. Jones

Touch of God

2017

camphor, copper, tin

Of Wind and Sea

2014

sculpture

33.5x7x10

41. Josie Mendoza Postel

Sacred Ground

2015

mixed media on paper

28 x 20

42. Josie Mendoza Postel

Of Heaven and Earth

1979

lithograph

43. Josie Mendoza Postel

Our Lady of the Cactus

1981

acrylic on canvas

36 x 49.75

44 . Robert Meyers

Voyage from Somewhere to Nowhere

2017

mixed media on board

58 x 24

40.

Earl S. Jones

45.25 x 22 x 18.5

20 x 14

No. Artist Title of Work Date Medium

Size (inches)

ProtĂŠgĂŠs: The Legacy of Dr. John Biggers as Viewed Through the Art Works of 13 Students 45 Robert Meyers

The Night Train Fiddler

2016

mixed media on board

24.5 x 46

46 Robert Meyers

Bottom of the Rainbow

2016

mixed media on board

59.25 x 39

47. Kermit Oliver

Nest Robber

1991

acrylic on paper

24.5 x 17

48. Kermit Oliver

Polyphemus Seen Auguring The Carapace of Heaven

2016

acrylic on masonite

20 x 12

49. Kermit Oliver

Portrait of Woman

charcoal and conte crayon on paper

30 x 20

50. Kermit Olive

Return from Flight to Egypt

1977

acrylic drybrush on paper

4.5 x 5.5

51. Kermit Oliver

Road to Damascus, BG Study

1977

acrylic drybrush on paper

4.5 x 5.5

52. Kermit Oliver

Shed

acrylic on masonite

23.5 x 35.25

53. Kermit Oliver

Untitled

oil on board

10.25 x 10.25

c. 1972

1971 c. 1970s

54 Elizabeth Montgomery Shelton

Biggers

2017

clay

11 x 9 x 5

55 Elizabeth Montgomery Shelton

Objective

2017

bronze

16.25 x 6.75 x 6

56 Elizabeth Montgomery Shelton

Mother and Child

2017

clay

15 x 12 x 10

57 Elizabeth Montgomery Shelton

Hope

2017

clay

12 x 6 x 7.5

58 Elizabeth Montgomery Shelton

Neighborhood Boy

2016

bronze

22 x 10.5 x 9

59 Elizabeth Montgomery Shelton

Lilly, T.K.

c. 1985

terracotta

13 x 10.5 x 8

60 Elizabeth Montgomery Shelton

Afro Puff

c. 1985

bronze

8x7x7

61

Jesse Sifuentes

Greater Hornbill

1978-79

bronze

6.5 x 9 x 4

62

Jesse Sifuentes

Greater Hornbill

1978-79

bronze

5.75 x 8.25 x 3.5

63

Jesse Sifuentes

Painted Great Hornbill

2007

painted ceramic sculpture

4.5 x 10 x 30

64

Jesse Sifuentes

Frog

1978-79

bronze

19 x 12 x 12

65

Jesse Sifuentes

Bird Vase

2014

glazed stoneware

26 x 11 x 11

66

Jesse Sifuentes

Celadon Vase

2010

glazed stonewar

21 x 14 x 14

No. Artist Title of Work Date Medium

Size (inches)

Protégés: The Legacy of Dr. John Biggers as Viewed Through the Art Works of 13 Students 67 Jesse Sifuentes

Watermelons

68 Jesse Sifuentes

Starts in the Backyard

nd

69 Jesse Sifuentes

Study for City Hall Mural

c. 2010

70

Jesse Sifuentes

Grasshopper (black)

71

Jesse Sifuentes

Saltfire Grasshopper

1978

1978-79 c. 1980

72 jesse Sifuentes

Bust 1

2017

73 Jesse Sifuentes

Bust 2

2017

oil on on canvas

30x40

oil on board

46.5 x 24

acrylic on board

28 x 64

bronze

8 x 22 x 8.5

ceramic

7 x 19 x 7

painted ceramic sculpture

15 x 8.5 x 10

painted ceramic sculpture

18.5 x 9.75 x 11

74

Jesse Sifuentes

Rooster

c. 2010

painted ceramic sculpture

40 x 20 x 9

75

Jesse Sifuentes

The Herald

c. 1982

oil on board

32 x 23

76 Charles Thomas

Shade Tree Mechanic

2011

77 Charles Thomas

Lone Rail Car

2011

acrylic on canvas

18 x 24

78

Charles Thomas

God is Good

2017

oil on canvas

48 x 36

79

Charles Thomas

Fishing at Sylvan Beach, La Porte

1986

oil on canvas

24 x 36

80 Roy V. Thomas

Backyard Que

1984

pastel on illustration board

40 x 32

81 Roy V. Thomas

Holding On (Karl's Old Man)

1987

oil on canvas

48 x 36

82 Roy V . Thomas

Inner City Blues

1984

acrylic on canvas

24 x 18

83

The Stop

1983

acrylic on canvas

30 x 30

Wise Men

1989

pastel on board

30 x 20

Roy V. Thomas

84 Roy V. Thomas

acrylic on canvas

36 x 28

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

CHARLES CRINER

"My art reflects my beliefs and the things that I like to do.

Fishing has always been one of my favorite pastimes…I also love to recapture the Black experience in the form of people working in the fields. I believe that these images are important and that they should be cherished windows into our past."

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

1. Charles Criner, Close Encounter 2, 2014, Artist Proof, lithograph on paper, 22.5 x 30 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

2. Charles Criner, Eating Summer Sausages, c. 2015, acrylic on paper, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

3. Charles Criner, Fighting the Insects, 2006, mixed media on paper, 20 x 30 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

4. Charles Criner, Ms. Willie John, c. 1970, acrylic on canvas, 12 x 10 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

5. Charles Criner, The Night Watchmen, c. 2015, acrylic on paper, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

6. Charles Criner, Putting on Her Favorite Hair, 2017, Printer's Proof, lithograph on paper, 30 x 22.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

7. Charles Criner, Starry Night, 2014, acrylic on paper, 28 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

8. Charles Criner, Tangled Hooks, 2006, Edition 14/26, lithograph on paper, 40 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

9. Charles Criner, Working Friday Night, 2014, acrylic and lithograph on paper, 30 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

10. Charles Criner, Young Girl and the Sea , 2012, Edition 4/30, lithograph on paper, 22.5 x 30 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

11. Charles Criner, Zydeco Mama, 2017, Artist Proof, lithograph on paper, 30x 22.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Charles Criner (b. 1945) Charles Criner was born in 1945 and raised in Athens, a small town in East Texas. He attended Texas Southern University in Houston between 1964 and 1968, studying under the guidance of the renowned late artist, Dr. John T. Biggers. While in college Criner supported himself by working as a sign painter, graphic artist, and billboard illustrator. After graduating he worked for NASA, producing drawings for Apollo 11. Two years later he worked as the advertising art director at The Houston Post that was interrupted for a two year stint in the Army. He returned to The Houston Post after his service where he served as Advertising Director until the newspaper closed in 1995. He then started his own business and was lured away to create advertising art for The Houston Chronicle. Criner is noted for his cartoons including the “Johnny Jones” series created while in the Army and later adapted for The Houston Post, The Job Crowd, The Dogs and a few others. He also collaborated with his longtime friend, newspaper columnist and sportswriter William Henry Hygh on the “Johnny Jones” cartoon carried in The Houston Post with Hygh providing the narrative for Criner’s art. Criner’s art, ads, and cartoons have been featured in Ebony Magazine, Houston Business Journal, the Housing and Urban Development (HUD), and in advertising for the Houston Oilers. Since 1997, Criner has been the Artist-in Residence at the Museum of Printing History in Houston, where he operates a studio, further defines his craft, and leads stone lithography workshops using the museum’s antique press.

The scenes of Criner’s stone lithographs, the medium he prefers best, are biographical images pulled from both childhood memories and the artist’s immediate environment. Of his art, Criner states, "My art reflects my beliefs and the things that I like to do. Fishing has always been one of my favorite pastimes…I also love to recapture the Black experience in the form of people working in the fields. I believe that these images are important and that they should be cherished windows into our past."

Criner’s artwork is included in numerous prestigious private collections throughout the United States, and has been exhibited at or is in the permanent collections of: Charles H. Wright Museum of African American History, Detroit MI; Museum of Printing History, Houston, TX; San Antonio Museum, San Antonio, TX; Southern University at Shreveport, LA; Southern University at Baton Rouge, LA; Texas Southern University, Houston, TX; The African American Museum, Dallas, TX; The King Center, Columbus, OH; The Longview Museum of Fine Arts, Longview, TX; The O'Kane Gallery at the University of Houston, TX; The Schomburg Center for Research in Black Culture, New York, NY; The Tubman African American Museum, Macon, GA; The Tyler Museum of Art, Tyler, TX; and University of Arkansas, Fayetteville, AK. Additionally, several of Criner’s student works completed during his time at Texas Southern University are published in the 1978 book Black Art in Houston by John Biggers, Carroll Simms, and John Edward Weems published by Texas A&M University Press.

Since 1997, Criner has served as the Artist-in-Residence at the Museum of Printing History in Houston, TX, where he teaches printmaking to aspiring future generations of artists.

Biographical and Career Highlights • 1945 Born in Athens, TX • 1964 Graduated from Fisher High School, Athens, TX • 1964 Attended Texas Southern University, in the Fine Arts Program studying under renowned artist John Biggers • 1968 Graduated from Texas Southern University, B.A. in Art Education • 1968 Art Instructor, Texas Southern University • 1968-1969 Designed billboards for Posters Inc. of Houston • 1969-1970 Graphic illustrator for National Aeronautical Space Administration, worked on Apollo 11 drawings • 1970-1984 Advertising artist for The Houston Post • 1970-1972 Served in the United States Army

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• 1984-1992 Owner and illustrator for Kevin’s Art business • 1992-1995 Advertising artist for The Houston Post until it closed down • 1995-1998 Advertising artist for The Houston Chronicle • 1997-Present Artist-in-Residence at Museum of Printing History in Houston, TX • Currently resides in Houston Selected Exhibitions • 2017 Homecoming: The 8th Biannual Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX • 2014 Houston Founders at City Hall, organized by William Reaves Fine Art and the Mayor’s Office of Cultural Affairs, Houston’s City Hall, Houston, TX Selected Public Collections • Charles H. Wright Museum of African American History, Detroit MI • Museum of Printing History, Houston, TX • San Antonio Museum, San Antonio, TX • Southern University at Shreveport, LA • Southern University at Baton Rouge, LA • Texas Southern University, Houston, TX • The African American Museum, Dallas, TX • The King Center, Columbus, OH • The Longview Museum of Fine Arts, Longview, TX • The O'Kane Gallery at the University of Houston, TX • The Schomburg Center for Research in Black Culture, New York, NY • The Tubman African American Museum, Macon, GA • The Tyler Museum of Art, Tyler, TX • University of Arkansas, Fayetteville, AK

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

GERI CROSSLAND Artist Statement Art should bar no restrictions as far as one's interpretation of what art means to him. Personally, I feel that art is where you find it. It means many different things to different people; therefore, what constitutes a work of art for one person does not necessarily have the same effect on another. If I were asked to give a brief definition of what art is to me, I would say: Art is something that gives me aesthetic pleasure and brings about a good feeling, as it relates to a given object.

When I think about a colorful butterfly that I have seen at one time or another, or an autumn sunset, or a serene rose—all of which represent works of art to me—I see beauty. The rose, upon sight, offers not one but three appeals to the senses. First, it enchants you with its soft, sweet fragrance. After it has taken you under its spell, you are invited to caress the delicate silken petals which are individual works of art them­selves. Yet, they are also an integral part of the total compo­sition of the rose. And, last but not least, it is left to the eyes of the beholder to be devoured visually, as a magnificent work of art.

As far as I am concerned, there is nothing that can be added or taken away that would enhance the beauty of the rose. That is as it should be with art; it should speak for itself.

I enjoy painting and drawing subject matter that relates to our “Environment” and the “Family.” Whether my work be portrayed in an abstract or in a realistic form, I try to work from a very personal, spiritual, and gut level. I feel that when an artist strives for these goals, his or her art will truly speak for itself.

Art wears many faces and breaks all language barriers. Regardless of its form, it encompasses universality and affords the artist and the artisan endless bounds yet to be undertaken.

Crossland with her completed mural titled "Eden" at Texas Southern University, c. 1976.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

12. Geraldine Crossland, Mural Study for Eden, 1973-76, oil on masonite, 16 x 35 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

13. Geraldine Crossland, Vessel 1, 1973-76, ceramic, 4 x 10 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

14. Geraldine Crossland, Vessel 2, 1973-76, ceramic, 2.5 x 8 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

15. Geraldine Crossland, Vessel 3, 1973-76, ceramic, 2 x 9 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

16. Geraldine Crossland, Cylindrical Vessel, 1973-76, ceramic, 8 x 7 x 7 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

17. Geraldine Crossland, Round Vessel, 1973-76, ceramic, 8.5 x 5 x 5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

18. Geraldine Crossland, Turtle, 1973-76, ceramic, 4.5 x 10 x 6 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Crossland at loom, Detail of photograph from 1978 Texas Southern University Art Department Brochure.

19. Orange Weaving, 1973-76, weaving, 72 x 15 x 6 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Geraldine “Geri” Robinson Crossland (b. 1940) Born in 1940, Geraldine “Geri” Robinson Crossland was born in New York, NY and graduated from Trenton Central High School, Trenton, NJ in 1959. She spent the next two years obtaining licensing from Maison Sapho, School of Dressmaking and Design in New York, NY, prior to moving to Houston to attend Texas Southern University in the Spring of 1973. During her time at TSU, Crossland studied art with the esteemed Dr. John T. Biggers and Carroll Simms, and majored in Art Education, graduating in May 1976. Upon graduation, Crossland began teaching art to high school students at Jack Yates Senior High School in Houston Independent School District.

For over 23 years as a high school art teacher, Crossland was very active in programs to advance and promote future artists and arts educators, including teaching Pre-AP and AP Studio Art courses at Rice University, and participated in “Training of Future Teachers” where she supervised 8 student teachers from Texas Southern University, University of Houston and St. Thomas University.

During her career, Crossland held professional associations with: American Federation of Teachers, where she presented on “An Interdisciplinary Approach: Fine Arts, Language Arts and Science” at the Museum of Fine Arts, Houston and orchestrated both “Mural Project” and “Director for a Day – A Place For All People” at the Museum of Fine Arts, Houston. During her time at Yates, she was recognized as “Teacher of the Year” from 1980-2000 and “Teacher of the Month” in 1986-87. In 2003, Crossland retired from teaching after devoting herself to her students for over two decades. In discussing her career as an arts educator, she states: Reflecting back on my middle school years, I immediately think of Mrs. Constance Berry. Mrs. Berry was my art teacher. she made a tremendous impression on me and, subsequently, was responsible for my becoming an art teacher.

Mrs. Berry was a fabulous teacher. She was always prepared, in control, fair, concerned, and always took time to assist and answer students' questions. Above all, Mrs. Berry made one feel that every piece of work rendered was the most beautiful piece that she had ever seen. She would always greet her students with a beautiful smile that said, "Welcome, you are going to have a memorable adventure today."

I cannot, for the life of me, ever remember her sitting at her desk.

She was always moving around the room - checking out everything we did. Everyone loved hovering around her when she gave demonstrations at the beginning of a new lesson because she smelled so sweet. I don't know what power she had over her students, but one of us was always eager to assist in any way possible. I suppose we loved listening to her tell us what a great job we had done followed by that beautiful smile.

There was never any doubt in my mind that I would become a teacher, and I thank Mrs. Berry for all of the confidence she gave me. On the last day of school as I prepared to leave her classroom, I can still recall hearing her say (as she gave me a hug), "'I just know that you are going to do a great job. Keep up the great work."

If I had to name my most significant contribution in education, I would have to acknowledge that it is my ability to foster self-esteem and confidence in students, as well as giving them that winning spirit. I have two scrap books filled with awards that my students have won over the past years. I am so proud of these students. For the most part, these students have been those who came with little self-confidence and low self-esteem. I was determined that I would help them make a change and become winners.

Many of them would share with me the serious family problems they were experiencing, or just feeling bad about themselves.

As I listened to them speak and saw the feelings of defeat in their eyes, I would later think of ways to make a change.

One of my exceptional education students who had never entered an

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Exhibit for her western hat. She was so excited to see her hat on display.

Another example was a football player who won a one hundred dollar savings bond for his essay describing what he would do as Director for a Day (sponsored by the Museum for Fine Arts). He was very surprised and elated at his victory. When he turned in his paper, he replied: “I know I'm not going to win." He did, and the kids have kept on winning over the years.

My scrap books are filled with success stories.

While pursuing a professional career in arteducation,Crosslandcontinues to paint and perfect her craft. Several of her student works completed during her time at Texas Southern University are published in the 1978 book Black Art in Houston by John Biggers Carroll Simms, and John Edward Weems published by Texas A&M University Press. Like her mentors at TSU, Crossland has spent a lifetime inspiring future generations of artists through her work as an educator.

Biographical and Career Highlights • 1940 Born in New York, NY • 1959 Graduated Trenton Central High School, Trenton, NJ • 1961 Licensed by Maison Sapho, School of Dressmaking and Design, New York, NY • 1973-76 Majored in Art Education, Texas Southern University, Houston TX • 1976 Graduated with a B.A. from Texas Southern University, Houston, TX • 1977-2003 Teaches Art at Jack Yates Senior High School in Houston Independent School District • 2003 Retires from teaching in HISD • Currently resides in Missouri City, TX Selected Public Collection • Texas Southern University, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

KARL E. HALL

Artist Statement In the beginning God created the heaven and the earth.

Then God made man in his own image. God made something out of nothing. When something is made from nothing, I conclude it is a problem solved.

My work is inspired by the passion in me to express myself in a creative manner. Art is a way of life for me, a creative form of communication that I have known since my youth. Art is recording the way I see, what I see, when I see it, in reality or through my spiritual ear.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

20. Karl E. Hall, Aqua Shadow, 1978-9, monotype, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

21. Karl E. Hall, Cowboy , 1978-79, acrylic on paper, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

22. Karl E. Hall, Flatonia, Texas, 1978-79, monotype, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

23. Karl E. Hall, Going to Church, 2015, acrylic on paper, 27 x 37 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

24. Karl E. Hall, Plant Your Seed, 1978-79, mixed media on paper, 27 x 21 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

25. Karl E. Hall, Knock, 1978-79, monotype, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

26. Karl E. Hall, Flock Together, 1978-79, monotype, 30 x 22 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

27. Karl E. Hall, Hear and Stand, 2013, acrylic on board, 16 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

28. Karl E. Hall, A Fruitful Air, 2015, acrylic on board, 24 x 36 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

29. Karl E. Hall, Praise & Dance, 2013, acrylic on board, 24 x 37 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS

Karl E. Hall (b. 1952)

AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Born in 1952, artist Karl E. Hall grew up in the Sunnyside community in Houston, TX, and graduated in 1970 from E.E. Worthing High School. In 1976, Hall went on to earn a BA in Arts Education from Texas Southern University, where he studied drawing and painting under the late Dr. John T. Biggers. In 1979, he completed his MFA at University of Houston Clear Lake, studying painting and monotypes with Professor Sandria Hu. After graduation, Hall served for 33 years as an Art Educator, first in North Forest Independent School District, followed

by Galena Park Independent School District, where he retired in 2011. During his teaching career, he received numerous awards and accolades, in addition to the honor of many prize winning students. Hall retired from the school system to pursue his dream of being a full-time artist or whatever God calls him to be. Painting in a style he refers to as “Gospel Surrealism”, Hall is a devout believer in God, and is currently a member of the Apostolic Assembly of Love church under the ministry of Bishop Louis Osborne and Sis. Gwen Osborne.

Throughout his career, Hall has won many prizes in juried art competitions and participated in numerous group shows.

Works by Hall are published in the following books: Black Art in Houston by John Biggers, Carroll Simms and John Edward Weems (1978); Art in Action by Guy Hubbard (1987); and Roots for Life by Roy L. Ford (2017). Today, he continues to reside in Houston, and is an active member of the Watercolor Society of Houston where he frequently exhibits. Like his mentors at TSU, Hall has spent a lifetime inspiring future generations of artists through his work as an educator.

Selected Biographical and Career Highlights • 1952 Born in Houston, TX • 1970 Graduated from E.E. Worthing High School in Houston, TX

• 1976 Graduated from Texas Southern University, B.A. in Art Education, studying under Dr. John T. Biggers • 1979 Graduated from University of Houston, Clear Lake, MFA, studying painting and printmaking with Professor Sandria Hu • 1978 Began teaching as an Art Educator in the North Forest and Galena Park Independent School District • 2011 Retired after serving 33 years as an art educator in the Houston area public school system • Currently resides in Houston, TX Selected Exhibitions and Awards • 2017 Homecoming: The 8th Biannual Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX • 2015 The 18th Citywide African American Artists Exhibition, curated

by Dr. Sarah A. Trotty, The University Museum, Texas Southern University, Houston, TX • 2014 Houston Founders at City Hall, organized by William Reaves Fine Art and the Mayor’s Office of Cultural Affairs, Houston’s City Hall, Houston, TX • 2014 Circle of Six: Selected Works by TSU Alumni, a group exhibition, The University Museum, Texas Southern University, Houston, TX • 2013 Homecoming: Art Alumni Biennial Exhibition, The University Museum, Texas Southern University, Houston, TX • 1996 Imprints: Texas Printmakers and the Cultural Diversity of Texas, Firehouse Gallery, Del Rio, TX • 1995 Imprints: Texas Printmakers and the Cultural Diversity of Texas, Local Color Art Gallery, College Station, TX • 1995 Houston Area Exhibition, Blaffer Gallery, University of Houston/University Park, Houston, TX • 1994 University of Houston Clear Lake Art Gallery, Clear Lake, TX • 1994 My Mark (A Two Person Show), Local Color Art Gallery, College Station, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• 1992 The Southwest Black Art Exhibition, The Museum of African American Life and Culture, Dallas, TX (Awarded Printmaking Purchase Prize) • 1991 Annual Black Art Alliance Exhibit, Austin, TX (Awarded Best of Mixed Media) • 1991 The Watercolor Art Society Exhibition, Houston, TX (Award Winner) • 1991 Houston’s African American Artist: Forerunners and Newcomers, Art Gallery, Lamar University, Beaumont, TX • 1989 Black Artist Exhibition, Black Arts Alliance, Austin, TX • 1988 The Eight Annual Atlanta Life National Art Competition and Exhibition, Atlanta, GA • 1988 Fall Membership Exhibition, The Watercolor Art Society, Houston, TX (Awarded Second Prize) • 1987 Houston Art Educator Association Exhibition, Houston, TX • 1984 Houston Talent Expo ‘84, The People’s Workshop for the Visual and Performing Arts, Houston, TX • 1983 Clear Creek Art League Exhibition, Houston, TX (Award Winner) • 1983 Houston Art Educator Association Exhibition, Houston, TX (Award Winner) • 1981 Fall Membership Exhibit, Houston Art League, Houston, TX • 1980 Houston Art League, Houston, TX (Award Winner) • 1980 Clear Creek Art League, Houston, TX (Award Winner) • 1978 Jesse H. Jones Scholarship, Houston, TX • 1978 Coastal Region Arts and Crafts Fair Scholarship, Houston, TX Selected Public Collection • Texas Southern University, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

EARLIE HUDNALL, JR.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

30. Earlie Hudnall Jr., Lady in Black Hat with Feathers, 1990, vintage gelatin silver print, 20 x 16 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

31. Earlie Hudnall Jr., The Wood Chopper, 1986, vintage gelatin silver print, 20 x 16 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

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EARLIE HUDNALL, JR (b. 1946) In 1946, Earlie Hudnall, Jr. was born and raised in Hattiesburg, Mississippi. His sense of community within his family and that of the African-American culture is what helped shape his work as an artist. Hudnall began photographing while serving as a Marine in the Vietnam War in the 1960’s. In 1968, he relocated to Houston to attend Texas Southern University and received his BA in Art Education in 1976. There he found the encouragement to continue photographing his subject matter of the everyday for African-Americans in the South. Hudnall made Houston his permanent home and has been working as the university photographer at Texas Southern University since 1990.

Hudnall is a board member for the Houston Center for Photography and an Executive Board member in the Texas Photographic Society. His work has been influential in the portrayal of the African-American community and culture.

The director of Academy Award winner for Best Picture in 2017, Moonlight, mentioned Hudnall as visual inspiration on how the film should depict African-Americans both aesthetically and symbolically.

His photographs are in many notable public and private collections across America, including the Smithsonian, Art Institute of Chicago and the Museum of Fine Arts in Houston.

Biographical and Career Highlights • •

1946 Born in Hattiesburg, Mississippi 1966-1968 Served in the United States Marine Corps.

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1976 Graduated with a BA from Texas Southern University, Houston, TX 1990-Present Works as university photographer at Texas Southern University, Houston, TX Resides in Houston, TX where he serves as a Houston Center for Photography Board Member and Executive Board Member for the Texas Photographic Society

Selected Solo and Group Exhibitions • • • • • • • •

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2017-18 Homecoming: The 8th Biannual Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX. 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX. 2015-16 Homecoming: The Seventh Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX. 2014 Houston Founders at City Hall, organized by William Reaves Fine Art and the Mayor’s Office of Cultural Affairs, Houston’s City Hall, Houston, TX 2013 Homecoming: The Sixth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX. 2013 African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, Mennello Museum of American Art, Orlando, FL 2013 In Conversation: Modern African American Art, Peabody Essex Museum, Salem, MA 2012 African American Art: Harlem Renaissance, Civil Rights Era, and Beyond, Smithsonian American Art Museum, Washington, DC 2011 Eyes of Texas, Photographs Do Not Bend Gallery, Dallas, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

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1998 Solo Exhibition, Museum of Abilene, Abilene, TX 1997 Solo Exhibition, Kalamazoo Institute of Arts, Kalamazoo, MI 1997 Portraits of a Community: Photographs by Earlie Hudnall, Jr., African American Art Museum, Dallas, TX 1997 The South By Its Photographers, Columbia Museum of Art, New York, NY 1996 Earlie Hudnall, Jr., Photographs Do Not Bend Gallery, Dallas, TX 1996 Project Galveston: Earlie Hudnall, Jr. and the Children of the Galveston Housing Authority, Galveston Art Center, Galveston, TX 1996 The South By Its Photographers, Birmingham Museum of Art, Birmingham, AL 1996 Three Visions, Centro Cultural Borges, Buenos Aires, Argentina 1995 Changing Perspectives, Contemporary Arts Museum, Houston, TX 1995 Houston: Earlie Hudnall, Jr., Project Row Houses, Houston, TX 1994 Project Galveston: Earlie Hudnall, Jr. and the Children of the Galveston Housing Authority, Galveston Art Center, Galveston, TX 1994 Free Within Ourselves: African American Art in the Collection of the National Museum of American Art, National Museum of American Art, Washington, D.C. 1994 Portraits of Community: African American Photography in Texas, Diverseworks, Houston, TX 1994 Six Texas Photographers, Transco Tower Gallery, Houston, TX 1994 Texas Photographic Society’s Annual Governor’s Exhibition, Wunderlich Gallery, Austin, TX 1993 Seeing the Forest for the Trees, Contemporary Arts Museum, Houston, TX

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1993 Fur, Fins, Feathers and More, Galveston Art Center, Galveston, TX 1993 Texas Photographers: Recent Acquisitions from the Mundy and Willour Collections, Museum of Fine Arts, Houston, TX 1993 Earlie Hudnall, Jr.: A Southern Spirit, Museum of Contemporary Photography, Chicago, IL 1993 Diverse Directions, Texas Christian University, Fort Worth, TX 1992 Three from the South: Southern Visions, Dishman Gallery, Lamar University, Beaumont, TX 1992 Haiti and Belize, Texas Southern University, Houston, TX 1991 Earlie Hudnall, Jr., Benteler-Morgan Galleries, Houston, TX 1986 Houston with Love: Reaping and Sowing, Dougherty Arts Center, Austin, TX 1986 America: Another Perspective, Tisch Scholl of the Arts, The Photo Center Gallery, New York 1984 African-American Photographers of the Southwest 1950-1984, Texas Southern University, Houston, TX 1984 Images of the Wards, Houston Public Library, Houston, TX 1982 Africa, America and the Black Caribbean, Sutton’s Black Heritage Gallery, Houston, TX •1982 Through the Eyes of Earlie Hudnall, M.D. Anderson Library, University of Houston, TX 1981 Permanent Photography Exhibition, Kashmere Gardens Library, Houston, commissioned by the Cultural Arts Council of Houston

Selected Grants and Awards • •

1997 Annual “Perspectives in African-American Art” commission by Seagram’s Gin 1992 Second Prize: “Texas Art Celebration ‘92” Assistance League of Houston

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

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1987 First Place, Black and White, ADA Photographic First Annual Competition 1981 Cultural Arts Council of Houston Visual Artist’s Grant: “Art in Community Places”

Selected Public Collections • Amon Carter Museum, Ft. Worth, TX • Chicago Art Institute, Chicago, IL • Elisha Johnson Center for the Aged, Houston, TX • Gernsheim Collection, Lugano, Switzerland • Harry Ransom Humanities Research Center, UT, Austin, TX • Kashmere Gardens Library, Houston, TX • LaSalle Bank Photography Collection • Museum of Contemporary Photography, Chicago, IL • Museum of Fine Arts, Houston, TX • Museum fur Kunst und Gewerbe, Hamburg, Germany • National Museum of American Art, Smithsonian Institution, Washington, D.C. • Texas Southern University, Houston, TX • Texaco, U.S.A., Houston, TX • Virginia Museum of Fine Art, Richmond, VA

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

HARVEY JOHNSON "Walk Together Children" Dedicated to all young people and the journey they must endure for the survival of this planet.

I am a seed from a mother and father of the Southern soil of Texas and a child of African roots. As I emerged from the oil fields of Port Arthur, Texas into the urban setting of Houston, Texas, I discovered how I fit into the rich Texas quilted pattern of cultural diversity. This diversity, this contrast of Native, African, Mexican, Caucasian, and Asian peoples have all helped to create a Texas "aesthetic," and contributes to a rich vision for Texas prosperity. My poetry speaks of African spirituals or what continues to be referred to as "Negro Spirituals."

A young African student at Key Middle School in Houston, Texas, stated that spirituals are "secret messages in song about God." It is the most profound and sophisticated meaning of these songs I have ever read or heard. I feel African spirituals and nature have given us a complex meaning of the sacred laws governing the order of the universe in its ever evolving cycles of life and death and life. An example of this can be heard in the spiritual, "We are Climbing Jacob's Ladder." Spirituals and nature embraces healing and renewal.

My poetry tries to express a continuous journey of healing - healing generated within me with the assistance of Spirit, African ancestors, a parental matriarch, and elders. They all provided access allowing for the discovery of personal identity, purposeandmeaningofmyexistenceasapartofwhatIcallatriple"middlepassage."

The first middle passage is the journey of an immaculate conception as we come into this life through the boat of heaven that is the sacred womb of all mothers.

For months, our mothers of "The Father and The Son" navigate us in her holy sanctuary through the many fires of life as we finally emerge into the light. Life is not about safety however and some of us do not make it. I feel that some of

us return to that unfrozen reality, the invisible. Our mother's heartbeat to us, like the rhythmic beat of the drum, is the "Word," the first communication to us of the articulation of language and civilization.

The second middle passage echoes these words from a spiritual, "Ev'-ry-bo-dy talk-in' 'bout heab'n aint goin' dere…" This speaks to the transatlantic slave trade and its ramifications to this present day, a holocaust of unmerciful human pillage and destruction. I hope my poetry expresses a compassion, which we all must have, for other people whose grief is just as deep about their holocaust. A great American author said, "History is not the past…history is the present."

And I will add that history is also the future.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

The third middle passage is about human transformation, not only ultimately from body to spirit literally, but transforming human and environmental abuse into positive spirituality and humaneness. I hope my poetry stimulates consciousness to awaken each of us to the purpose for which we came into this world or were born into this life.

We live in an environment where myths about ourselves have become the norm, have become realities. These myths are used as a frame of reference for our very existence. We have become prisoners to a history of our own making. I feel that poetry encourages an awakening of our senses by expressing how the language of nature puts an end to all human myths and forces us back to reality. Earth, wind, fire, water, minerals, and animals speak to us, trying to bring us closer together.

Nature forces us to see that many of our fears and insecurities come from the inner unsolved struggles we are having about ourselves, which many times we transfer to others. As I share my journey with you, I hope that you focus on your own journey.

I feel good about the energy of our youth. They seem to be aware that jobs and careers do not define success and the spirit of their being. "Your ability to see is always a delusion of what you see, and what you see, is usually a translation of your own limitation at seeing until you are taught how to see…it's an introduction into that area of silence where meaning exist independently of human extortion and it is an introduction into that area of human experience where it is possible at least to reconstruct one's history going beyond one's birth into a timeless moment where one can see one's self as much older as one look in order to be able to understand

why one occurred in this particular time and what for."

Poetry is one of many visionary expressions that can inspire, to help us stay in touch with the silent language of our souls in keeping with the rhythmic balance and harmony of nature as it moves toward a greater scheme of creation. You may wonder whether this is all there is to being here in this life. It is if this is the limitation of your thinking, feelings and emotions. Nature is the key to teaching us about unlimited doorways connecting us to a cosmic conception and journey.

Our young people have the opportunity to create new worlds of spiritual values which can define us as true human beings.

I don't know anything else more important. In the spirit of the Negro Spiritual, let us all "Walk Together Children."

-Harvey Johnson 1. Poetry in this context refers to visual, musical, dance,

literary, and theatric expressions that address the what, where, when, how, and why of human existence. It replaces the term "art" for a deeper meaning of the human journey. 2. Malidoma Some', African ShamanofBurkinaFaso,WestAfrica.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

32. Harvey Johnson, The Bell Done Ring, Lift Every Voice and Sing!, 2011, oil on canvas, 40 x 30 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

33. Harvey Johnson, Daughter of Eternal Light, 2003, acrylic and oil wash on canvas, 40 x 30 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Harvey Johnson (b. 1947) A native Texan, Harvey Johnson was born in Port Arthur in 1947. He was raised in the shadows of oil refineries in this East Texas industrial town by a mother who encouraged his childhood interest in the arts, and saw to it that he was firmly entrenched in the local church. Beyond his own mother, Johnson’s earliest and most significant art influence was his high school art teacher, Willie Moore. Moore, now a Houston painter and writer, had been among the first generation of art students recruited to the Texas Southern University art program by Dr. John T. Biggers. Having assumed a teaching position at Port Arthur’s Lincoln High School upon his graduation from TSU, Moore immediately assessed Harvey Johnson’s talent and ambition. He not only gave instruction and encouragement to the budding young artist, but also introduced him to John Biggers and the art program of Texas Southern University. Johnson felt an immediate connection with Biggers during their first meetings and determined to pursue his formal art studies at TSU to work under his tutelage. He entered the university in 1966, completing his undergraduate degree in art in 1971.

At Biggers’ suggestion, Johnson enrolled immediately at Washington State University to continue with graduate study. While at Washington State, he completed his master’s thesis entitled A Black Aesthetic. This became a research interest which Johnson pursued throughout his own thirtyyear academic career, as well as an artistic pursuit that he shared with Biggers over the duration of their time together as faculty colleagues at TSU. Upon completion of his MFA in 1973, Johnson returned to Houston to join Biggers on the faculty at TSU, where he remained until his retirement in 2007. In 1977, Johnson was awarded a Ford

Foundation Fellowship to extend his research on AfricanAmerican crafts. Through the Ford grant, Johnson traveled over 4200 miles through Texas and Louisiana, locating AfricanAmerican craftsmen, observing and documenting their traditional ancestral crafts and collecting examples of these for exhibit at the university. He received additional university research grants for similar purposes in 1980 and 1989, and in 1991-92, the artist made his own journey to Africa, traveling to Sierra Leone to further illuminate his studies on AfricanAmerican crafts and document their connection to ancestral African arts.

Along with his teaching and research, Johnson continued to produce and show art. Throughout his career, his work has shown an ongoing concern for the cultural aesthetics of the everyday life of African-Americans. His art also reflects his own grounding in the church and his subject matter is frequently inspired by his love for Negro spirituals, which he holds as a sacred entity and motivating force within the African-American community. His drawings from the late 60s and early 70s demonstrate his facility as a draftsman and show early symbolic tendencies. These early drawings are deftly conveyed in beautifully flowing, richly imbued charcoals or conté. The representational nature of Johnson’s later work reflects his mature style of symbolic expressionism.

Through these later works, the artist increasingly employs African imagery embodied in Negro spirituals as an artistic language through which to tell Texas inspired stories of African-American families. While his expressions bear a kindred message to those of his colleague and mentor, Biggers, Johnson’s style is entirely his own. As with Biggers, his later paintings and drawings are richly layered with this symbolism. Johnson incorporates common objects into his work as a means of telling his stories or conveying his message.

Aside from creating visual interest, these wash pots, row

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

houses, boats and tools represent elements in his system of symbols, visual elements laden with multiple meanings.

His works are frequently punctuated with fish, turtles, birds and other small animals, and these are often infused in flowing waters utilized by the artist to explore man’s connection with and harmony with nature. Throughout his career, the quality of Johnson’s draftsmanship and his prowess in composition are evident. His use of color and application of paint are superb. He produces masterful images of great beauty and of deep personal meaning.

Johnson’s works have been frequently exhibited, appearing in numerous museums including the Huntsville Museum of Fine Art in Huntsville, Alabama, the Contemporary Arts Museum Houston, Laguna Gloria Art Museum in Austin, The Museum of Fine Arts, Houston and the Corcoran Gallery of Art in Washington, D.C. In addition he has shown at university exhibitions on the campuses of Texas Southern University, Alabama State University and The University of Houston. He received one-man exhibitions at the City of Port Arthur (1982) and the Black Heritage Gallery in Houston (1986). Today, Johnson continues to live in Houston, TX, where he continues to work as a “visual poet.”

Selected Biographical and Career Highlights • 1947 Born in Port Arthur, TX • 1971 Graduated with BA in Education from Texas Southern University, Houston, TX •

1972 Birth of daughter, Ayann N. Johnson,

• 1973 Graduated with Masters of Fine Arts from Washington State University, Pullman, WA

• 1977 Received Ford Foundation Grant to conduct research on African- American crafts •

1978 Birth of son, Amon O. Johnson, Houston,

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1991 – 1992 Traveled to Sierra Leone, West Africa for three months to conduct research in continuation of project entitled A Black Aesthetic

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1973 – 2007, Taught in Art Department at Texas Southern University, Houston, TX 2017 Married to Visual Poet Kumiko Johnson Resides in Houston, TX

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Selected Exhibitions • 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX • 2015 Bayou City Chic: Progressive Streams of Modern Art in Houston, Art Museum of South Texas, Corpus Christi, TX • 2015 Harvey Johnson: A Triple Middle Passage, Art Museum of SoutheastTexas, Beaumont, TX •

2014 Houston Founders at City Hall, organized by William Reaves Fine Art and the Mayor’s Office of Cultural Affairs, Houston’s City Hall, Houston, TX

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2013 Harvey Johnson: Spirituals: Triple Middle Passage, African American Library at Gregory School, Houston, TX

• 2012 Legacy of the Golden State Life Insurance Company: More Than a Business, California African American Museum, Los Angeles, CA • 2011–12 Place of Validation: Art and Progression, California Museum of African American Art, Los Angeles, CA

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

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2011 Texas Natives—Texas Narratives: Don Edelman, Harvey Johnson & William Young, William Reaves Fine Art, Houston, TX 2010 The Texas Aesthetic: Contemporary Texas Regionalism, Annual Exhibition, William Reaves Fine Art, Houston, TX 2010 Third Anniversary Show: A Tribute to Houston Artists, William Reaves Fine Art, Houston, TX 2010 Water Rites: Rivers, Lakes, and Streams in Texas Art, William Reaves Fine Art, Houston, TX 2009 Texas Paper: Watercolors, Pastels and Drawings from the Lone Star State, 1938-2008, William Reaves Fine Art, Houston, TX 2009 Walk Together Children: The Poetry of Harvey Johnson with Tribute to John Biggers, Williams Fine Art, Houston, TX ( 2001 Founders of Houston Art: Thirty Artists Who Led the Way, William Reaves Fine Art, Houston, TX A Spiritual Journey: An Exhibit of Prints by Dr. John Biggers and Three of His Former Students—Charles Criner, Earlie Hudnall, and Harvey Johnson, Longview Museum of Fine Arts and the City of Longview, TX 1995 Perspectives 92: Changing Perspectives, Contemporary Arts Museum, Houston, TX 1993 Solo, The Mothers of the Fathers & the Son, Blue Triangle YWCA, Houston, TX 1993 “I Remember” Thirty years after the March on Washington: Images of the Civil Rights Movement 1963-1993, Corcoran Gallery of Art, Washington, D.C. 1990 Solo, Mama’s Throne, Black Heritage Gallery, Houston, TX 1990 Tenth Annual Atlanta Life National Art Competition and Exhibition, Atlanta Life Insurance Co., Atlanta, GA

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1989

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1987 Figurative Artist, Multicultural Center, Corpus Christi, TX 1987 Our Proud Black Heritage, Multicultural Center, Corpus Christi, Tx 1986 Texas Annual 1986, Laguna Gloria Art Museum, Austin, TX

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Masters Choice, Art League of Houston, TX

1986 Sixth Annual Atlanta Life Natural Art Competition and Exhibition, Atlanta, GA (first prize)

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1986 Solo, Black Heritage Gallery, Houston, TX

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1986 Houston with Love: Reaping and Sowing, Dougherty Arts Center, Austin, Tx

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1986 Architecture and Culture, Diverse Works, Houston, TX

• 1985 Fifth Annual Atlanta and Exhibition, Atlanta

Life National Art Competition Life Insurance Co., Atlanta, GA

Solo, City of Port Arthur Library Division,Port Arthur, TX Alabama

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1982

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1979

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1979 FIRE!Art, Contemporary Arts Museum, Houston, Tx

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1979 Black Heritage Month, Barnwell Art and Garden Center, Shreveport, LA 1979 Alabama State University, Montgomery,

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1978–79 MobilArt, Organization of Black Artists, Houston, TX

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1978

Black Artists/South, Huntsville Museum of Huntsville

Progressive Cultural Exhibit, Beaumont, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Selected Murals • 1997, Collaboration with John Biggers on the mural Salt Marsh, The University of Houston – Downtown, Houston, Texas • 1999, Collaboration with John Biggers on the mural Nubia, Texas Southern University’s School of Business, Houston, Texas • 1999, Co-authored manuscript with John Biggers entitled Nubia • 2003, Mural All God’s Chillun Got Wings, Community Center, Houston, Texas Selected Major Collections • Golden State Mutual Insurance, Permanent Collection, Los Angeles, California • Texas Southern University, Permanent Collection, Houston, Texas • Mrs. Susan McAshan, Civic Benefactor and Art Patron, Houston, Texas • Dr. John Biggers, Houston, Texas

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

EARL S. JONES

Artist Statement

The ability to draw, paint, and sculpt from a wide range of influences and techniques provide me with the freedom to create without limitations. My work illustrates dexterity resulting in a prolific portfolio of diverse art; rich with color and textures. Art is aesthetics with a message. It reveals a sense of life's profound experiences.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

34. Earl S. Jones, Family Bonds, nd, oil on masonite, 34.5 x 24.75 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

35. Earl S. Jones, Joined at the Hip, 2017, oak, 32.5 x 10 x 14.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

36. Earl S. Jones, . Harmonious Bliss, 2016, ash, 26 x 17 x 14 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

37. Earl S. Jones, New Day, 1976, terracotta, 37.75 x 16.5 x 23 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

38. Earl S. Jones, Bird in Flight, 2015, ashwood sculpture, 40 x 16 x 15 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

39. Earl S. Jones, Touch of God, 2017, camphor, copper, and tin sculpture on wood base, 45.25 x 22 x 18.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

40. Earl S. Jones, Of Wind and Sea, 2014, sculpture, 33.5 x 7 x 10 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS

Earl S. Jones (b. 1956)

AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Earl Sampson Jones was born and raised on Galveston Island. During his elementary school years, Earl's teachers noticed his artistic talents and encouraged him to continue to express himself through art. In the 1960s as a sixth grader, Jones received recognition when he won first and second place in a local contest. He created a scene of beach goers including surfers of all skin colors and nationalities surfing together. Winning that contest fueled and solidified his passion for art.

Jones's commitment to that quest continued while a student a Ball Senior High School in Galveston, TX. While attending high school he was honored to have his art work exhibited on The Strand at Galveston Island, one of the most visited and toured streets in the Southwest.

Jones received scholarships from both the Ford Foundation and Moody Foundation to continue his studies in art. Later, he completed his Bachelor of Fine Art Degree at Texas Southern University, where he studied under Dr. John T. Biggers, internationally acclaimed painter, muralist, teacher, philosopher, and Professor Caroll Simms, acclaimed sculptor, potter, teacher. Jones considers both faithful mentors who, over the course of time, provided endless inspiration for him. While at Texas Southern University, he became a member of Ancient Nubian Art Society (ANAS).

Since 1978, Jones has created murals, both public and private, as a tool for artistic expression for a large diversity of subjects and themes, including ones at Hannah Hall at Texas Southern UniversityHouston, TX, and West Hall at Central High School- Little Rock, AR. Additionally, Jones has been a prolific painter, with a creative body of watercolors and oils painted on canvas and various textiles, ranging from still lifes to landscapes to portrait painting. His paintings can be found in the permanent art collections of the Brazoria Historical Museum, Brazoria, TX and Texas Southern University, Houston, TX. Having painted for over 30 years, in 2009, Jones turned his focus to sculpture using trees that are destroyed as a result of a natural disaster,

such as Hurricane Ike and Hurricane Harvey. He is able to transform the remnants of these trees into artistic and charming expressions of strength, recovery and hope for the communities. These works can be found in the Historic District in Galveston, Texas, and numerous private collections throughout the Texas Gulf Coast.

Jones currently resides in Hitchcock, TX and is continuing to make wood sculptures, especially in the wake of Hurricane Harvey in Fall 2017, which he recently exhibited in an alumni exhibition at Texas Southern University, Houston, TX. Throughout his career, he exhibited works at: First Southwest Black Art Exhibit, Houston, TX; Modern Art Foundry, Houston, TX; Fannin Street First Unitarian Church, Houston, TX; Galveston Art Exhibit on the Strand, Galveston, TX; Texas Southern University, Houston, TX; University of Texas Medical Branch Library, Galveston, TX; Black Arts Alliance, Houston, TX; Juried Texas Black Artist, Austin, Texas (Awarded Best Of Show); National Society of Artist 33rd Juried Exhibition; Nubian Art Society, Texas Southern University; and the Galveston Art League, Galveston, TX. Biographical and Career Highlights • 1956 Born in Galveston, TX • 1974-1980 Attended Texas Southern University, Houston, TX • 1980-Present Began working as a professional painter • 1978-Present Began creating public murals • 1988-1990 Worked as an Illustrator for the School of Allied Health Sciences, UTMB Medical Branch, Galveston, TX • 1998 Graduated with B.F.A. from Texas Southern University, Houston, TX • 2009-Present Works as Public Sculptor • Currently resides in Hitchcock, TX Selected Exhibitions • 2017-18 Homecoming: The 8th Biannual Art Alumni Exhibition, The University Museum, Texas

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• 2015-16 Southern University, Houston, TX Homecoming: The Seventh Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • • • • • • • • • •

First Southwest Black Art Exhibit, Houston, TX Modern Art Foundry, Houston, TX Fannin Street First Unitarian Church, Houston, TX Galveston Art Exhibit on the Strand, Galveston, TX Student Life Center at Texas Southern University, Houston, TX University of Texas Medical Branch Library, Galveston, TX Black Arts Alliance, Houston, TX National Society of Artist 33rd Juried Show Galveston Art League, Galveston, TX Juried Texas Black Artist Best Of Show, Austin, TX

Selected Public Murals & Sculptures • Hannah Hall at Texas Southern University, Houston, TX • West Hall at Central High School, Little Rock, AR • Galveston Tree Sculptures: Tall Ship Elissa Figurehead (1409 Sealy) Small Dolphin (828 Ball) Pod of Dolphins and Mermaids (902 Ball) Grandmother Reading to Her Grandchildren (1123 Winnie) Selected Public Collections • Brazoria Historical Museum, Brazoria, TX • Historic District, Galveston, TX • Texas Southern University, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

JOSIE MENDOZA POSTEL

Artist Statement Art is a verb and without action of mind, body, and spirit, will not manifest itself. I relish in the lines that bound and free an image, the movement that a series of lines make when united.

People become transparent when motherhood is explored; either you are moved by maternal jesters or oblivious to the power of a mother’s embrace. Birds signal hope, at times being our protectors and or spiritual guides in life. Death signals hope, celebrating another chance to get it right.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

41. Josie Mendoza Postel, Sacred Ground , 2015, mixed media on paper, 28 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

42. Josie Mendoza Postel, Of Heaven and Earth, 1979, lithograph, edition 12 of 13, 20 x 14 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

43. Josie Mendoza Postel, Our Lady of the Cactus, 1981, acrylic on canvas, , 36 x 49.75 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Josie Mendoza Postel (b.1947) Born in 1947, Josie Mendoza Postel is a fourth generation Texan and has lived in Houston all of her life. In 1985, Postel graduated with a BFA/BA from Texas Southern University, studying under Dr. John T. Biggers and Carroll Simms. Since then, she has returned to Houston and served as an educator for over thirty years.

Later in 2006, she received a Masters Degree in Education from Grand Canyon University. Throughout her career, Postel has exhibited in numerous Houston-area community exhibitions, including at the Houston Public Library Downtown in 1990.

Additionally, she was commissioned by the City of Houston to create the “Sunrise” mural at Cliff Tuttle Library in 1987.

Of her work, Postel states: Art is a verb and without action of mind, body, and spirit, will not manifest itself. I relish in the lines that bound and free an image, the movement that a series of lines make when united.

People become transparent when motherhood is explored; either you are moved by maternal jesters or oblivious to the power of a mother’s embrace.

Today, Postel continues to reside in Houston where she is currently the Art Director at the Incarnate Word Academy High School. Throughout her career as an art educator, she has never forgot those great teachers who guided and shaped her passion for art Select Biographical and Career Highlights • 1947 Born in Houston, TX • 1985 Graduated with a BFA/BA from Texas Southern University, studying under Dr. John T. Biggers and

Carroll Simms Began a thirty-year career in education • 1983 • 1987 Commissioned by the City of Houston for the “Sunrise” mural at Cliff Tuttle Library, Houston, TX • 1990 Exhibits at Houston Public Library Downtown, Houston, TX • 2006 Graduated from Grand Canyon University with a Masters Degree in Education • 1992- Works as the Art Director at Incarnate Word Academy High School, Houston, TX • Currently resides in Houston, TX Selected Public Collections • Texas Southern University, Houston, TX • The City of Houston, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

ROBERT E. MEYERS

ARTIST STATEMENT

The Unknown Artist "I am not one to talk about my artwork. But I will say this, art is from the soul of who create wonderful and beautiful works of art. No matter what goes on in the survive. In describing my work as an artist, I tried to separate myself from other design, color, and technique. I just thank God, and hope that someday I can have a

most men and women world, art manages to artists with the use of one-man show."

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

44. Robert E. Meyers, Voyage from Somewhere to Nowhere , 2017, mixed media on board, 58 x 24 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

45. Robert E. Meyers, The Night Train Fiddler, 2016, mixed media on board , 24.5 x 46 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

46. Robert E. Meyers, Bottom of the Rainbow, 2016, mixed media on board, 59.25 x 39 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Robert E. Meyers (b. 1943) In 1943, artist Robert E. Meyers was born in Houston, Texas, but spent his childhood in Los Angeles, CA where art was an important part of his life. In 1959, his family moved back to Houston, and he attended Jack Yates Senior High School, where his interest in art continued to develop under an art teacher who introduced him to watercolor, tempera and oil painting, in addition to knowledge of art history.

In reflecting on this time in high school, Meyers states: The study of art was exciting to me. It was like being introduced to a new world. I knew then that I wanted to become an artist.

The school district had a very good art program. We entered our works in the art show such as Foley’s Easter shows and other shows. I remember in 11th grade my work was entered in the Foley’s show where I won seven gold keys and three honorable mentions at the same time. In the 12th grade I only had three gold keys, also one of my paintings appeared in The Houston Post’s magazine; it was the head of Christ. I also received a letter from the mayor congratulating me for being an outstanding student in art. I won a scholarship to art and craft in California.

I did not attend because I could not afford the room and boarding fee...

After graduating from Yates High School in 1962, Meyers attended Texas Southern University, where his art flourished, studying under Dr. John T. Biggers and Mr. Carroll Simms. There, he had the opportunity to learn more about drawing, composition, technique, sculpture, ceramics and painting. During college, he worked at night and attended classes in the daytime. Upon graduating in 1970, Meyers began a thirty-five year career with Texas International Airlines (which later became Continental Airlines, and now United Airlines). In 2005, Meyers retired from the airline and has been dedicating himself to his art. At this juncture, Meyers “decided to get serious about being an artist and now creates works day and night.” From having been

out of the art world for so long, Meyers considers himself as “the unknown artist, mainly because [his] work is unknown.”

Several of Meyer’s student works completed during his time at Texas Southern University are published in the 1978 book Black Art in Houston by John Biggers Carroll Simms, and John Edward Weems published by Texas A&M University Press. Today, he continues to reside in Houston and frequently participates at group and alumni exhibitions at Texas Southern University, never forgetting those great teachers from his past who guided and shaped his passion for art.

Biographical and Career Highlights • 1943 Born in Houston, TX • 1962 Graduated from Jack Yates Senior High School, Houston, TX • 1964-70 Studied at Texas Southern University, B.A. in Art ducation, studying under Dr. John T. Biggers and Carroll Simms • 1970 Graduated from Texas Southern University with B.A. in Art Education • 1970-2005 Worked at Texas International Airlines (later Continental Airlines) Retired from airline to pursue his dream of being an artist.

• Currently resides in Houston, TX Selected Exhibitions • 2017-18 Homecoming: The 8th Biannual Art Alumni Exhibition, The University Museum, Texas Southern University,Houston, TX • 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX • 2015-2016 Homecoming: The Seventh Biennial Art Alumni

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Exhibition, The University Museum, Texas Southern University Houston, TX 2015 The 18th Citywide African American Artists Exhibition, curated by Dr. Sarah A. Trotty, The University Museum, Texas Southern University, Houston, TX Circle of Six: Selected Works by TSU Alumni, a group 2014 exhibition, The University Museum, Texas Southern University, Houston, TX 2013 Homecoming: The Sixth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Selected Public Collections • Texas Southern University, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

KERMIT OLIVER

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

47. Kermit Oliver, Nest Robber, 1991, acrylic on paper, 24.5 x 17 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

48. Kermit Oliver, Polyphemus Seen Auguring The Carapace of Heaven, 2016, acrylic on masonite, 20 x 12 inches.

Courtesy of Hookes-Epstein Galleries.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

49. Kermit Oliver, Portrait of Woman, c. 1972, charcoal and conte crayon on paper, 30 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

50. Kermit Oliver, Return from Flight to Egypt, 1977, acrylic drybrush on paper, 4.5 x 5.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

51. Kermit Oliver, Road to Damascus, BG Study, 1977, acrylic drybrush on paper, 4.5 x 5.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

52. Kermit Oliver, Shed, 1971, acrylic on masonite, 23.5 x 35.25 inches. Courtesy of Hookes-Epstein Galleries.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

53. Kermit Oliver, Untitled, c. 1970s, oil on board, 10.25 x 10.25 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

KERMIT OLIVER (b. 1943) Kermit Oliver was born in Refugio, Texas, the son and grandson of African American working cowboys. He majored in art and education at Texas Southern University and graduated with a bachelor of fine arts degree and teaching certificate. Throughout college, Kermit was nurtured by professor and artist, John Biggers. In his junior year, he attended an artist seminar class conducted by Willem de Kooning's wife, Elaine de Kooning, at Rice University. Much has been written about Oliver: self-described recluse, night postal worker, designer of Hermes scarves.

Selected Biographical and Career Highlights • 1943 Born in Refugio, Texas • 1962 Married Katie Washington • 1966 Seminar, Rice University, Houston, Texas • 1967 BFA, Art and Education, Texas Southern University, Houston, Texas • 2013 Lifetime Achievement Award, Art League of Houston, Texas • Resides in Waco, Texas Selected Exhibitions • 1971 Baytown Community Center, Baytown, Texas • 1971 Solo, DuBose Gallery, Houston, Texas • 1972 Art League of Houston, Texas • 1973 Assistance League of Houston, Texas • 1973 Service League of Port Arthur, Port Arthur, Texas • 1974 Assistance League of Houston, Texas • 1974 Beaumont Art Museum, Beaumont, Texas • 1974 Jewish Community Center of Houston, Texas • 1975 Blacks in the Western Movement, Anacostia Museum and Center for African American History and Culture, Washington, DC • 1975 Assistance League of Houston, Texas • 1976 Union Carbide Building, New York, New York

• • • • • • • • • •

• • • •

• • • • • • • •

1978 Solo, DuBose Gallery, Houston, Texas 1979 Doors: Houston Artists, Alley Theatre, Houston Festival, Houston, Texas (catalogue) 1979 O’Kane Gallery, University of Houston/Downtown, Houston, Texas 1979 2719 Gallery, Dallas, Texas 1980 Sewall Art Gallery, Rice University, Houston, Texas 1981 Blaffer Gallery, University of Houston, Texas 1981 Texas A&M University, College Station, Texas 1981 Solo, DuBose Gallery, Houston, Texas 1981 San Antonio Museum of Art, San Antonio, Texas 1982 Art from Houston in Norway 1982, Stavanger Kunstforening, Norway; Tromso Kunstforening, Norway; Christiansand Kunstforening, Norway; Oslo Kunstforening, Norway (catalogue) 1982 Art League of Houston, Texas 1982 Contemporary Arts Center, New Orleans, Louisiana 1983 Solo, DuBose Gallery, Houston, Texas 1985 Fresh Paint: The Houston School, Museum of Fine Arts, Houston, Texas, traveled to: Institute for Art and Urban Resources, Inc. (MoMA PS1), Queens, New York; Oklahoma Contemporary Art Center, Oklahoma City, Oklahoma (catalogue) 1980’s to present, Hooks-Epstein Galleries, Houston, Texas 1989 Kermit Oliver: Contemporary Allegories of the Mythical and the Spiritual, Laguna Gloria Art Museum, Austin, Texas 1989-90 Kermit Oliver: Current Allegories, Art Museum of Southeast Texas, Beaumont, Texas; Art Center of Waco, Texas 1990 The Blues Aesthetic: Black Culture and Modernism, Blaffer Gallery, University of Houston, Texas 1992 20th Anniversary Exhibition, Art Center of Waco, Texas 1993 Kermit Oliver, Longview Museum of Fine Arts, Longview, Texas 1993 Texas Contemporary: Acquisitions of the 90s, Museum of Fine Arts, Houston, Texas 1994 Matrix Series 3: Veiled Images, Art Museum of South

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• • • • • • • • • • • • • • • • •

Texas, Corpus Christi, Texas and SFA Gallery, Stephen F. Austin State University, Nacogdoches, Texas 1995 Texas Myths and Realities, Museum of Fine Arts, Houston, Texas (catalogue) 1996 Five, Art Center of Waco, Texas 1997 Kermit Oliver: Painting, Museum of the Southwest, Midland, Texas 2003 A Panoramic View, University Museum, Texas Southern University, Houston, Texas 2002 Fourth International Biennial: Beau Monde: Toward a Redeemed Cosmopolitanism, SITE Santa Fe, New Mexico 2005 Retrospective, Notes from a Child’s Odyssey: The Art of Kermit Oliver, Museum of Fine Arts, Houston, Texas 2006 Katie and Kermit Oliver, Hooks-Epstein Gallery, Houston, Texas 2006 Houston Art in Houston Collections: Works from 1900 to 1965, Heritage Society Museum, Houston, Texas 2007 Homecoming: The 3rd Biennial TSU Art Alumni Invitational, Texas Southern University, Houston, Texas 2008 Founders of Houston Art: Thirty Artists Who Led the Way, William Reaves Fine Art, Houston, Texas 2008 Houston Collects: African American Art, Museum of Fine Arts, Houston, Texas 2008 Then and Now: The World of Kermit Oliver, Beeville Art Museum, Beeville, Texas 2009 A Texas Sampler: Vintage Paintings by Thirty Texas Artists, William Reaves Fine Art, Houston, Texas 2009 Texas Paper: Watercolors, Pastels and Drawings from the Lone Star State, 1938-2008, William Reaves Fine Art, Houston, Texas 2009-10 Kermit Oliver Retrospective, Art Center of Waco, Texas 2010 Third Anniversary Show: A Tribute to Houston Artists, William Reaves Fine Art, Houston, Texas 2010 200 Years of African American Art: The Arthur Primas Collection, Irving Arts Center, Irving, Texas

• • • • • • • •

• • •

2011 Lone Star Modernism: A Celebration of Mid-Century Texas Art, William Reaves Fine Art, Houston, Texas 2011 Converging Voices, Transforming Dialogue: Selections from the Elliot and Kimberly Perry Collection, University Museum, Texas Southern University, Houston, Texas 2012 A Survey of Texas Modernists, William Reaves Fine Art, Houston, Texas 2013 Rhythms of Modernism, William Reaves Fine Art, Houston, Texas 2013 Kermit Oliver: Tracing Our Pilgrimage, Art League of Houston Gallery, Houston, Texas (catalogue) 2013 Summer Encore Exhibition, William Reaves Fine Art, Houston, Texas 2014 Lone Star Portraits, Amon Carter Museum of American Art, Fort Worth, Texas 2015 Bayou City Chic: Progressive Streams of Modern Art in Houston, Art Museum of South Texas, Corpus Christi, Texas (catalogue) Selected Commissions 1999 Jonathan, Congregation Emanu El, Houston, Texas 2001 Elijah Reflecting As He Gathers His Mantle, Congregation Emanu El, Houston, Texas 2003 Resurrection, Morrow Chapel, Trinity Episcopal Church, Houston, Texas

Selected Public Collections • Arkansas Arts Center, Little Rock, Arkansas • Art Museum of Southeast Texas, Beaumont, Texas • Dallas Museum of Art, Dallas, Texas • El Paso Museum, El Paso, Texas • Museum of Fine Arts, Houston, Texas • San Antonio Museum of Art, San Antonio, Texas • Fine Arts , Houston, 1964; Jesse H. Jones Music Hall, Houston, 1964; and Foley’s Scholastic Awards , Houston, 1960-64.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

ELIZABETH MONTGOMERY SHELTON

Artist Statement "I praise God for this gift and to bring others to Christ through my artwork and that they never give up on what Christ has given them for his glory. "

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

54. Elizabeth Montgomery Shelton, Biggers, 2017, clay, 11 x 9 x 5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

55. Elizabeth Montgomery Shelton, Objective, 2017, bronze, edition 1 of 5, 16.25 x 6.75 x 6 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

56. Elizabeth Montgomery Shelton, Mother and Child, 2017, clay, 15 x 12 x 10 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

57. Elizabeth Montgomery Shelton, Hope, 2017, clay, 12 x 6 x 7.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

58. Elizabeth Montgomery Shelton, Neighborhood Boy, 2016, bronze, edition 1 of 5, 22 x 10.5 x 9 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

59. Elizabeth Montgomery Shelton, Lilly, T.K., c. 1985, terracotta, 13 x 10.5 x 8 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

60. Elizabeth Montgomery Shelton, Afro Puff, c. 1985, bronze, edition 5 of 10, 8 x 7 x 7 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Elizabeth Montgomery Shelton (b. 1945) Born in 1945, Elizabeth Montgomery Shelton is a native of Houston, Texas and has been a sculptor and painter since early childhood. Through her art, she has spent life reflecting and interpreting the world. She captures the strength and sensuality of all women – especially women of color. Her bronze renditions of children remarkably eternalize their innocence and tender spirit. Throughout her works, you will find the use of African symbolism as a foundation to build on her Creole and AfricanAmerican heritage. Her resulting works are vivid and energizing in their approach.

Shelton is a graduate of Texas Southern University, where she had the opportunity to study under two of the world's finest artists - the famous muralist and artist, Dr. John Biggers and Mr. Carroll Harris Simms, a renowned abstract sculptor. Carrol Simms was first to recognize her ability as a sculptor and encouraged her to do a terracotta sculpture of a mother and child. A photograph of the terracotta sculpture was used for the cover of the Christmas cards for Texas Southern University during the 1980s. Additionally, the same terracotta sculpture is listed and shown in a book written by Dr. John Biggers - Black Art in Houston. The Mother and Child sculpture (along with one of her other terracotta sculptures) is displayed as part of the permanent art collection in the University Museum on the campus of Texas Southern University, in Houston.

After her completion of study at Texas Southern University in 1970, Shelton studied in Paris with Martin Vaugel, an international sculptor. As a result of this international exposure, her work developed into a more powerful expression of real and abstract figures in bronze. For over thirty years, Shelton worked as an arts educator in the Houston Independent School District at Robert E. Lee Senior High School, from 1970 until 2006.

Throughout her career, Shelton has exhibited in numerous solo

and group exhibitions across the state of Texas. Shelton’s awards include: 1990 NASA Plaque Award, “Outstanding Black Texas Artist,” 1996 Who’s Who among American Teachers (Art), and 1970 Juried show “Merit Award” with Texas Art Education Association (TAEA) – Houston, Texas. In 1969, she had a public installation at the University Museum in Texas Southern University, 1970 was when she installed another work at Mural at Golden State Insurance – Houston, Texas; and a metal work of art at the Abstract Fabrication (outside) at South Park Avenue – Houston, Texas. Additionally, in 2000, Shelton was commissioned to do The Mountaintop Award, a bust of Dr. Martin Luther King, for the Black Heritage Society. The Mountaintop Award has been given to Rosa Parks, Mrs. Coretta Scott King and Nelson Mandela. In addition, she created another Mountaintop Award for Sheila Jackson Lee. Her vision for the future is vast and her goal is to leave a mark on the world in bronze—in figurative, contemporary sculpture. Like her mentors at TSU, Shelton has spent a lifetime inspiring future generations of artists through her work as an educator and artist.

Biographical and Career Highlights •1945 Born in Houston, TX • 1970 Graduated with a B.A. in Art Education from Texas Southern University, Houston, TX • 1970-2006 Taught Art at Robert E. Lee Senior High School in Houston Independent School District • 2006 Retired from teaching in Houston Independent School District after 36 years • Currently resides in Houston, TX Selected Exhibitions • 2017-18 Homecoming: The 8th Biannual Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX. curated by Sally Reynolds, Arts Brookfield, Houston, • 2017 Print & Plates: A Selection of Matrices, group show, curated by Sally Reynolds, Arts Brookfield, Houston, TX.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• 1970 Solo Exhibition, Houston Museum of African American Culture, Houston, TX On My Journey: The Legacy of John Biggers, curated by • 2017 Sally Reynolds, Arts Brookfield, Houston, TX. • 2015-16 Homecoming: The Seventh Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX. • 2015 The 18th Citywide African American Artists Exhibition, curated by Dr. Sarah A. Trotty, The University Museum, Texas Southern University, Houston, TX. • 2015 The Big Show, Lawndale Art Center, Houston, TX • 2014 Circle of Six: Selected Works by TSU Alumni, a group exhibition, The University Museum, Texas Southern University, Houston, TX • 2013 Homecoming: The Sixth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2012 One Woman Show, Christ Church Cathedral, Houston, TX • 2002 5A Gala Auction, Museum of Fine Arts, Houston, TX 16th • 2000 Annual Gala, African American Museum, Dallas, TX City Hall Annex, Houston, TX • 2000 • 2000 One Woman Show, Houston, TX • 2000 Rice University, Houston, TX • 2000 Texas Southern University, Houston, TX • 1999 Youngman Branch Library, Houston, TX Citywide African American Exhibition, Houston, TX • 1998 • 1998 Community Artist Group (Armon Bayou), Houston, TX Art • 1990 Expo 90, Sugarland, TX • 1980 Art League of Houston, Houston, TX • 1977 International Women’s Year National Conference, Houston, TX • 1976 One Woman Show, Adept New American Folk Center, Houston, TX • 1975 Community Artist Gallery, Houston, TX • 1971 College of the Mainland, Texas City, TX • 2017

• 1970 • 1970 • 1970 • 1970 • 1964 • 1964 • 1960-64

One Woman Show, Community Artist Group (The Pavilion), Houston, TX Albert Thomas Convention Center, Houston, TX Links Society Art Show, Ft. Worth, TX Sculpture and Ceramic Show, San Antonio, TX Texas City Lighting and Power, Texas City, TX Museum of Fine Arts, Houston, TX Jesse H. Jones Music Hall, Houston, TX Foley’s Scholastic Awards, Houston, TX

Selected Public Collections • Golden State Insurance, Houston, TX • Exxon Corporation, Houston, TX • Texas Southern University, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

JESSE SIFUENTES ARTIST STATEMENT My name is Jesse Sifuentes, I am an artist living and working in Houston's East End. Born and raised on the Texas' Gulf Coast, from Kingsville to Galveston to Houston, the region has seeped into the imagery and content of my artwork. I grew up on the island of Galveston, Texas and moved to Houston for the opportunity to study under the renown muralist John Biggers and sculptor Carroll Simms, who were building an art department at Texas Southern University.

Their work and dedication to art uplifted and celebrated the community and rich culture that bore them has been a lifelong inspiration to me. Following Dr. Biggers, I have aimed to create public artwork that uplifts and celebrates the communities that host the work.

I have grown up, been educated, lived, worked, and raised a family in Houston's East End. But I am also connected to this community artistically. I have contributed several public artworks to the Houston area. In each project, I consider how the work will reflect and celebrate the community that houses the work. As a public artist, I have a responsibility to create artwork that is owned by the local public. This requires knowing and understanding the community I serve as an artist. For example, some of the works I have been commissioned were in tandem with anti-graffiti programs.

This presents a particular challenge in that I am tasked with creating work that is embraced by the public and engenders respect amongst the community, including those that tagged the building prior to the work going up. The public space is then embellished into something that the neighborhood can be proud of and call

their own. Furthermore, this sense of community pride becomes community empowerment and inspiration.

Dr. Biggers once stated that the artist has a responsibility to the public as a “documenter” of the affairs that affect the community. There are some things that cannot be ignored and should be addressed in words, note or brush.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

61. Jesse Sifuentes, Greater Hornbill , 1978-79, bronze, 6.5 x 9 x 4 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

62. Jesse Sifuentes, Greater Hornbill , 1978-79, bronze, 5.75 x 8.25 x 3.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

63. Jesse Sifuentes, Painted Great Hornbill, 2007, painted ceramic sculpture, 24.5 x 10

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

64. Jesse Sifuentes, Frog, 1978-79, bronze,19 x 12 x 12 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

65. Jesse Sifuentes, Bird Vase, 2014, glazed stoneware, 26 x 11 x 11 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

66. Jesse Sifuentes, Celadon Vase, 2010, glazed stoneware, 21 x 14 x 14 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

67. Jesse Sifuentes, Watermalons, 1978, oil on on canvas, 30x40 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

68. Jesse Sifuentes, Starts in the Backyard, oil on board, 46.5 x 24 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

69. Jesse Sifuentes, Study for City Hall Mural, c. 2010, acrylic on board, 28 x 64 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

70. Jesse Sifuentes, Grasshopper (black), 1978-79, bronze, edition of 2, 8 x 22 x 8.5 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

71. Jesse Sifuentes, Saltfire Grasshopper, c. 1980, ceramic, 7 x 19 x 7 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

72. Jesse Sifuentes, Bust 1, 2017, painted ceramic sculpture,15 x 8.5 x 10 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

73. Jesse Sifuentes, Bust 2, 2017, painted ceramic sculpture, 18.5 x 9.75 x 11 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

74. Jesse Sifuentes, Rooster, c. 2010, painted ceramic sculpture, 40 x 20 x 9 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

75. Jesse Sifuentes, The Herald, c. 1982, oil on board, 32 x 23 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS

Jesse Sifuentes (b. 1954)

AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Houston-based ceramic artist and muralist Jesse Sifuentes was born in Kingsville, Texas in 1954, and grew up in Galveston, Texas, where he attended Ball High School. His art teacher, recognizing his exceptional talent as an artist, strongly encouraged him to pursue art beyond high school. With the support of a Moody Scholarship, Sifuentes enrolled in the prestigious art program at Texas Southern University founded by nationally renowned artist and muralist Dr. John Biggers and sculptor Carroll Simms, becoming the first person in his family to attend college. In 1974, another scholarship allowed him to travel to Mexico City where he studied the work of the great muralist Diego Rivera. In 1979, Sifuentes graduated with a BFA from Texas Southern University in Houston, TX. Following his graduation with a B.F.A. from Texas Southern University in 1979, Sifuentes went on to receive a Masters in Fine Arts from the University of Houston in 1989. He has exhibited his ceramics in numerous exhibitions, has created numerous murals, and assisted with many public art projects. In 2007, he retired from the Houston Independent School district after 27 years of service as an art teacher in the public schools. It was at this time that Sifuentes joined the Art Faculty at Texas Southern University, where he continues to work today.

An accomplished ceramist, the artist has exhibited his ceramics in numerous exhibitions, including the Museum of Fine Arts, Houston.

Sifuentes has created eight murals in the city of Houston, including the commission for the large-scale mural at Fonde Recreational Center which honors the public service of President George H.W. Bush. It was given as an 80th birthday gift by the city as he has assisted with many public art projects, several of which are in his East End community.

Today, Sifuentes continues to reside in Houston and frequently participates in group exhibitions at Texas Southern University and throughout Houston, in addition to his continual projects creating murals in the community.

Biographical and Career Highlights • 1954 Born in Kingsville, TX • 1973 Graduated from Ball Senior High School, Galveston, TX • 1979 Graduated from Texas Southern University, BFA, studying under Dr. John T. Biggers and Carroll Simms • 1989 Graduated from University of Houston, MFA • 1985-96 Taught Art at Albert Thomas Jr. High School, Houston, TX • 1996-2007 Taught Art at Stephen F. Austin High School, Houston, TX • 2007 Retired from teaching in Houston Independent School District • 2007 Works as Art Faculty, Texas Southern University, Houston, TX • Currently resides in Houston, TX Selected Exhibitions and Awards • 2017 Homecoming: The Seventh Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX • 2016 Art Faculty Biennial, The University Museum, Texas Southern University, Houston, TX • 2015 Homecoming: The Sixth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2015 The 18th Citywide African American Artists Exhibition, curated by Dr. Sarah A. Trotty, The University Museum, Texas Southern University, Houston, TX • 2014 Art Faculty Biennial, The University Museum, Texas Southern University, Houston, TX • 2013 Ceramic Exhibition, Houston Museum of African-American Culture, Houston, TX • 2013 Homecoming: The Fifth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Art Faculty Biennial, The University Museum, Texas • 2012

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• 2011 • 2009 • 1990 • 1988 • 1988 • 1987 • 1980 • 1978 • 1978 • 1978 • 1978

Southern University, Houston, TX Homecoming: The Fourth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Homecoming: The Third Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Masters Exhibition, University of Houston, Houston, TX Ceramic Gallery Exhibition, University of Houston, Houston, TX First Annual Fiestas Patrias Art Exhibition, Texas Southern University, Houston, TX Texas Southern University Alumni Exhibition, Texas Southern University, Houston, TX 3 Man Art Show, Ripley House, Houston, TX Association for the Advancement of Mexican Americans, Houston, TX First Southwest Black Art Exhibition, The Museum of African-American Life and Culture, Bishop College Campus, Dallas, TX Texas Southern University Art Student & Faculty Exhibition, Galveston Arts Center on the Strand, Galveston, TX Texas Southern University Art Student Exhibition, Texas Southern University, Houston, TX

Selected Public Murals •2016 Smither Park Project, Houston, TX •2014 Transport and Renewed Mural, Houston, TX •2012 Starbucks Mural—Wayside, Houston, TX •2009 Ripley House –“Our Family, Our Community” Mural, Houston, TX •2008 City Hall Permit Building Murals, Houston, TX •2006 “East End-Birthplace of Houston Mural” : 3600 Harrisburg, Houston, TX •2004 “41 @ 80” Presidential Mural, - Fonde Recreation, Houston,TX

•2004 •2002 •2001 •2001 •2001 •1983 •1980s •1980s

“View from Magnolia Mural”-75th & Avenue K, Houston, TX “Juan Sequin Mural” – Juan Sequin Elementary School, Houston, TX “Eastside Houston Mural” – Cash Advance Pawn Shop – Dumble St., Houston, TX Mason Park Mural” – East End – Houston, TX “Engrando Park Ceramic Tile Mural” – East End – Houston, TX CETA Program Mural Project, Houston, TX Canal Street Mural with Leo Tanguma, Houston, TX Thomas Middle School Mural, Houston, TX

Selected Public Collections • Texas Southern University, Houston, TX • The City of Houston, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

CHARLES THOMAS

"One thing I learned from Dr. Biggers is that a painting is just the next step beyond a great drawing."

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

76. Charles L. Thomas, Shade Tree Mechanic, 2011, acrylic on canvas, 36 x 28 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

77. Charles L. Thomas, Lone Rail Car, 2011, acrylic on canvas, 18 x 24 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

78. Charles L. Thomas, God is Good, 2017, oil on canvas, 48 x 36 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

79. Charles L. Thomas, Fishing at Sylvan Beach, La Porte, 1986, oil on canvas, 24 x 36 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS

Charles L. Thomas (b. 1943)

AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Born in 1943 in Houston, Charles L. Thomas grew up in Clinton Park where he attended Clinton Park Elementary, E.O. Smith Jr. High School, and graduated from Phyllis Wheatley Senior High School in 1961. From 19631967, Thomas studied art at Texas Southern University, studying under Dr. John Baggers, Carroll Simms, Theresa Allen, and Athena Watson, and earned a B.A. in Art Education. After graduating, he taught art briefly at Charlton Pollard High School in Beaumont and substituted in Houston Independent School District, prior to starting his thirty-five year career with Texas International Airlines (which later became Continental Airlines, and now United Airlines). Throughout his life, no matter his vocation, art has always been and will continue to be a significant part of his life.

Regarding his approach to painting, Thomas states: I am a realistic and an impressionistic painter; mostly interested in portraits, still lifes, landscapes and seascapes. I know that most people have heard the phrase, "A picture is worth a thousand words;" but I think that a good picture is worth even more than that. A good picture also gives you the inside story, like the inside personality of a portrait, if that is what you are painting.

Lately, I have returned to using oil and the new medium water mixable oil color and watercolors. Before this, my medium for over 30 years was acrylic watercolor, which was my greatest interest. While a student under Dr. John T. Biggers, our first painting medium was oil colors. When Dr. Biggers introduced a new paint called casein (which is a type of watercolor) to us in the early 1960s, this was a great change from the oil paint we had been using, as it was a little easier and faster painting process. Now, I am back to the oil medium again.

One thing I learned from Dr. Biggers is that a painting is just the next step beyond a great drawing. In other words, a good painting is like putting color on a good drawing. That is, a painting is like putting color onto a monochromatic drawing. Monochromatic is a process

of lights and darks, or going from dark to light, or black to white in a drawing.

The majority of my paintings are done this way—that is starting with a dark, to middle tones, to light, in a picture, either a drawing or painting, then finishing with color. I think during the process I found that I love brilliant colors for the most part, at least great colors. While following this process, I think about the personality of the individual in my painting, if it is a portrait. I also think about the story that I am trying to portray, if it is another type of painting. Therefore, the phrase, "A painting is worth a thousand words," or a good painting should tell some type of story, or at least it should attract a great deal of attention.

Several of Thomas’ student works completed during his time at Texas Southern University are published in the 1978 book Black Art in Houston by John Biggers Carroll Simms, and John Edward Weems published by Texas A&M University Press. Today, Thomas continues to reside in Houston and frequently participates at group and alumni exhibitions at Texas Southern University, never forgetting those great teachers from his past who guided and shaped his passion for art.

Biographical and Career Highlights • 1943 Born in Houston, TX • 1961 Graduated from Phyllis Wheatley Senior High School, Houston, TX • 1967 Graduated from Texas Southern University, B.A. in Art Education, studying under Dr. John T. Biggers and Carroll Simms • 1968 Taught art at Charlton Pollard High School in Beaumont, TX • 1970-2005 Worked at Texas International Airlines (later Continental Airlines)

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• Currently resides in Houston, TX Selected Exhibitions and Awards • 2017 Homecoming: The Seventh Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2017 On My Journey: The Legacy of John Biggers, curated by Sally Reynolds, Arts Brookfield, Houston, TX. • 2015 The Big Show, Lawndale Art Center, Houston, TX (Received Special Distinction Award) • 2015 Homecoming: The Sixth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2015 The 18th Citywide African American Artists Exhibition,

• 2014 • 2013 • 2011 • 2009

curated by Dr. Sarah A. Trotty, The University Museum, Texas Southern University, Houston, TX Circle of Six: Selected Works by TSU Alumni, a group exhibition, The University Museum, Texas Southern University, Houston, TX Homecoming: The Fifth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Homecoming: The Fourth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Homecoming: The Third Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX

Selected Public Collections • Texas Southern University, Houston, TX

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

ROY VINSON THOMAS

“At Texas Southern University, both Dr. John T. Biggers and Mr. Simms were demanding teachers. They taught technique; Biggers would require a personal solution; Simms would require a simple solution.”

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

80. Roy Vinson Thomas, Backyard Que, 1984, pastel on illustration board, 40 x 32 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

81. Roy Vinson Thomas, Holding On (Karl's Old Man), 1987, oil on canvas, 48 x 36 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

82. Roy Vinson Thomas, Inner City Blues, 1984, acrylic on canvas, 24 x 18 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

83. Roy Vinson Thomas, The Stop, 1983, acrylic on canvas, 30 x 30 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

84. Roy Vinson Thomas, Wise Men, 1989, pastel on board, 30 x 20 inches.

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

Roy Vinson Thomas (b. 1946) Born in 1946 in Houston, Roy Vinson Thomas grew up in Clinton Park where he attended Clinton Park Elementary, E.O. Smith Jr. High School, and graduated from Phyllis Wheatley Senior High School in 1965.

From 1965-1970, Thomas studied art at Texas Southern University, studying under Dr. John Baggers, Carroll Simms, Theresa Allen, and Athena Watson, and earned a B.A. in Art Education. While serving on his tour of duty in U.S. Army from 1970-72, Thomas attended classes at the University of Arizona, and returned to Houston to complete his M.A. in Education (Guidance and Counseling) from TSU in 1974.

Upon graduation, Thomas was employed by the Texas Commission on the Arts & Humanities to launch “Artists in Schools” Program in Waco Independent School District and Galena Park Independent School District in 1974-75, landing him a job as a High School Art Educator in Galena Park Independent School District for the over forty years, before retiring in 2016. During this time, Thomas continued with his pursuit of art and studied painting and drawing at the University of Houston Clear Lake from 1979-1981. Since this time, he has participated in numerous solo and group exhibitions throughout the United States and internationally, including exhibitions in Brazil, Nigeria, Atlanta, Tucson, and throughout Texas in Austin, Beaumont, Dallas, Houston, San Antonio, and Wichita Falls among others.

In reflecting upon his time at Texas Southern University, Thomas states, “…both Dr. John T. Biggers and Mr. Simms were demanding teachers. They taught technique; Biggers would require a personal solution; Simms would require a simple solution.” He also recalls that his classmates, which included artists Kermit Oliver, Charles Criner, and Henry Wilson, were quite competitive.

Several of Thomas’ student works completed during his time at Texas Southern University are published in the 1978 book Black Art in Houston

by John Biggers Carroll Simms, and John Edward Weems published by Texas A&M University Press.

Regarding his output, Thomas considers himself “an emerging

newcomer artist,” only in the sense that he doesn’t produce as many works in a given year as some of his established counterparts since he teaches public school, granting him limited time during the academic year to paint. Also, he works in a style which is both expressionistic and realistic style, which can be time consuming; thus, there are fewer of his works to submit to shows. However, his mature style finds success in most juried competitions. Since he began his career as an artist, Thomas’s painting evolved to figurative forms, sculpture in nature.

After thousands of sketches, he doesn’t use models; he draws directly on the canvas or paper from memory. His colors are more toned down than the earlier palette he used of raw color. In his work, he often uses concentric lines to move the viewer through his work.

Today, Thomas continues to reside in Houston and frequently participates at group and alumni exhibitions at Texas Southern University, never forgetting those great teachers from his past who guided and shaped his passion for art. Throughout his career, Thomas’s professional affiliations include: Organization of Black Artists (OBA), National Art Education Association, Classroom Teacher Association, Minority Artists Coalition of Houston, Texas Southern Art Alumni Association, National Congress of Artists, and Texas Art Education Association among others.

Biographical and Career Highlights • 1946 Born in Houston, TX • 1965 Graduated from Phyllis Wheatley Senior High School, Houston, TX •1970 Graduated with B.A. in Education from Texas Southern University, Houston, TX •1970-72 Served in U.S. Army and attended the University of Arizona during his tour of duty •1974 Graduated with M.A. in Education (Guidance and Counseling) •1974-76 Employed by the Texas Commission on the Arts

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

& Humanities to launch “Artists in Schools” Program in Waco Independent School District and Galena Park Independent School District •1979-1981 Studied Painting & Drawing at the University of Houston Clear Lake, Houston, TX •1988 Work illustrated in “In Search of the American Dream,” Eleven x Fourteen Art, published by Fran Kalmykov, Autumn Issue (Vol 1, No 1) •1992 Work illustrated in the Calendar of African American Art, from the collection of Atlanta Life Insurance •1976-2016 Served as High School Art Educator in Galena Park Independent School District •2016 Retired from teaching after 42 years in public school system • Currently resides in Houston, TX

• 1991

Selected Exhibitions • 2017-18 Homecoming: The 8th Biannual Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2017 On My Journey: The Legacy of John Biggers, curated

by Sally Reynolds, Arts Brookfield, Houston, TX • 2015-16 Homecoming: The Seventh Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 2015 The 18th Citywide African American Artists Exhibition, curated by Dr. Sarah A. Trotty, The University Museum, Texas Southern University, Houston, TX • 2014 Circle of Six: Selected Works by TSU Alumni, a group exhibition, The University Museum, Texas Southern University, Houston, TX • 2013 Homecoming: The Sixth Biennial Art Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX • 1993 National Conference of Artists: International Conference and Exhibition, Lagos, Nigeria

• 1988

• 1991

• 1989 • 1988

• 1988 • 1988 • 1987 • 1987 • 1987 • 1987 • 1987 • 1987

Cultural Arts Extravaganza: Benefit Lou Rawls Parade of Stars Telethon, United Negro College Fund, Sponsor Ladies of the Lake Women’s Group, Bay Oaks Country Club, Friendswood/ Clearlake, TX Forerunners and Newcomers: Houston’s African American Artists in the Lead - Revisited, curated by Dr. Sarah A. Trotty, sponsored by the Southeast Texas Arts Council, Mobile Foundation, Golden Triangle Chapter of the Links, Inc., Texas Commission on the Arts and Humanities and the City of Beaumont, Beaumont, TX Forerunners and Newcomers: Houston’s Leading African American Artists, sponsored by Cultural Arts Council of Houston, University of Houston-Clear Lake, Houston, TX Eight Annual Atlanta Life National Art Exhibition and Competition, Atlanta Life Insurance Company, Atlanta, GA (Awarded 2nd Place award and purchase prize for painting) National Conference of Artists: Second International Conference and Exhibition, Bahai, Brazil Houston Area Exhibition, Sarah Campbell Blaffer Gallery, University of Houston, Houston, TX Wichita Falls Museum and Art Center, Midtown Fine Arts League, Wichita Falls, TX Sharing 1987: Annual National Alumni Exhibition, The University Museum, Texas Southern University, Houston, TX Seventh Annual Atlanta Life National Art Exhibition and Competition, Atlanta Life Insurance Company, Atlanta, GA (Awarded 2nd Place award and purchase prize for painting) National Conference of Artists: 29th Annual Convention, Los Angeles, CA Juneteenth Celebration 1987 Exhibition, North Galveston Community Center Galveston, TX (curator) National Urban League’s Art Expo ’87, Albert Thomas Convention Center, Houston, TX Houston Art Education Association Annual Membership Show, Houston Art Institute, Houston, TX (Awarded Best of Show/Cash Prize)

PROTÉGÉS: THE LEGACY OF DR. JOHN BIGGERS AS VIEWED THROUGH THE ART WORKS OF THIRTEEN STUDENTS

• 1987 • 1985 • 1985 • 1985 • 1985 • 1985 • 1985 • 1985 • 1985 • 1985 • 1985 • 1985

Group Show, Barnes/Blackman Galleries, Houston, TX Eighth Southwest Black Art Exhibition, The Museum of African-American Life and Culture, Bishop College Campus, Dallas, TX Spiraling Symphonies, Soaring Melodies, Junior Black Academy of Arts and Letters, Inc., ARCO Towers, Dallas, TX Regional Black Artists’ Exhibition 1985, Black Arts Alliance, Austin, TX (Awarded Best in Show/ Cash Prize) State Treasurer’s Office Exhibition, LBJ Office Building, Austin, TX 11 x 14 Show –First Organizational Art Alumni Exhibition & Sale, Texas Southern University Art Gallery, Houston, TX Annual Exhibition, Art League of Houston, Houston, TX (Awarded 1st place) 1985 Regional Black Artists’ Exhibition, George Washington Carver Museum, Austin, TX (Awarded 2nd Place/Cash Prize) Texas Annual 1985 Exhibition, Texas Fine Arts Association, Laguna Gloria Art Museum, Austin, TX (Honorable Mention) Sixth Annual Atlanta Life National Art Exhibition and Competition, Atlanta Life Insurance Company, Atlanta, GA Texas Realism, Texas Fine Art Association, Atrium Gallery Moody Hall, St. Edward’s University, Austin, TX Creative Insight, The Houston Art Education Association, Gallery of the Art Institute of Houston, Houston, TX (Awarded 3rd Place/Cash Prize)

Selected Public Collections • Atlanta Life Insurance Company, Atlanta, GA • Texas Southern University, Houston, TX

About William Reaves | Sarah Foltz Fine Art

H OUSTON’S T EXAS- C ENTERED G ALLERY William Reaves | Sarah Foltz Fine Art, originally established in 2006 in Houston, Texas, is dedicated to the promotion of premier Texas artists of the late nineteenth and twentieth centuries, focusing particularly on historically significant artists active in the state during the period of 1900-1975.

The gallery showcases many of the state’s most accomplished and recognized talents, all of whom have significant connections to Texas and have evidenced the highest standards of quality in their work, training, and professionalism. In addition to its general focus on Early Texas Art, the gallery places special emphasis on the rediscovery and presentation of midcentury works by Houston and South Texas artists. William Reaves | Sarah Foltz Fine Art is the foremost provider of Texas Modern Art, which includes midcentury masters and pioneering expressionists working in the state. The gallery also represents a dynamic group of contemporary artists, known as the Contemporary Texas Regionalists, actively showing their works in annual gallery exhibitions as well as traveling exhibitions throughout the state.

William Reaves | Sarah Foltz Fine Art is a comprehensive gallery offering fine art appraisals, consultation, collections management, brokerage, and sales services. The gallery exhibits artists working in a variety of media including painting, sculpture, works on paper, and photography. In order to promote interest and broaden knowledge of earlier Texas art, William Reaves | Sarah Foltz Fine Art supports related gallery talks, community events, scholarly research, and publications.

Gallery hours are Tuesday-Saturday, 10am-5pm and other times by appointment.

Gallery Contacts:

William Reaves, President william@reavesart.com

Sarah Foltz, Executive Director sarah@reavesart.com

Mariah Rockefeller, Gallery Director mariah@reavesart.com