Alumni Brochure Compressed

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The Legacy & Influence of Six Morgan Alumni
  The Founder & Museum
                                                                  To further enhance his students’ education, Lewis
                                                                  founded a gallery of art and created a
                                                                  multicultural platform for seasoned and emerging
                                                                  artists. Over the years, many of these artists were
                                                                  presented at Morgan before they were
                                                                  embraced by national and global arts
                                                                  During his tenure as director, the gallery featured
                                                                  solo exhibitions for modern masters such as
                                                                  Gordon Parks, whose first one-person show was
                                                                  mounted at Morgan in 1963. He introduced
                                                                  Jacob Lawrence to Baltimore in 1965, and
                                                                  organized solo exhibitions for other friends and
                                                                  colleagues such as Sam Gilliam, Elizabeth Catlett
                                                                  and Romare Bearden.

  James Lewis wit h part of his teaching collection (1960s)       Although it began as a teaching collection, the
                                                                  museum has evolved into a superlative home for
James Lewis was 28 years old when he arrived at                   rare artifacts, paintings, textiles, sculptures,
Morgan to start a visual arts department. It was                  photographs and works on paper. It is the result
1951, and a year prior, the young artist and                      of private collectors, artists and art dealers who
scholar had earned his graduate degree from                       have generously donated thousands of pieces
Temple University. In spite of his youth, or perhaps              that cover several centuries of art representing
because of it, Lewis challenged the unspoken                      every continent. From Bearden, Picasso, Albers,
rules of conventional pedagogy. Daring and                        and Erte to Constable, Sargent, and Metsu; from
pioneering, he came to M organ to build a                         Johnson, Tanner, Dali, and Lawrence to
department that would include courses in                          woodcarvings and metalwork representing
Western art, as well as African culture. This was a               centuries of Africa, the James E. Lewis M useum of
rare offering at the time. Most students learned                  Art boasts a world-class collection.
about art from slides and books. Lewis’ students,
however, studied three-dimensional objects,
including artifacts from Africa.

In the 1950s, with guidance from instructors like
Charles Stallings, Albert Sangiamo and Richard
Long, the visual arts curriculum gave Morgan’s
students an intellectual framework that
integrated courses in the fine arts with
coursework in the humanities. In addition to
learning in the classroom, Lewis further
differentiated the program by exhibiting and
collecting the work of practicing artists. This
included art by Morgan’s staff and alumni.
This exhibition celebrates that longstanding
vision. Featuring six artists who were part of the
earliest group of protégés to study under
Morgan’s then-nascent fine arts department,
EPOCH: The Legacy and Influence of Six
Morgan Alumni commemorates the influence
of the museum’s founder and the legacy of his
students. Through the examples of their
creative work and prolific careers, each artist
has contributed to the arts and made their
mark in M organ’s history.

It was an era of Abstract Expressionism. It was          A simple gesture could imply subjectivity and
a time in which new generations of artists               agency that reflect the perceptions and
moved to construct images that transcended               personal language of the individual. Artists
the aesthetic principles of earlier movements.           would capture these gestures of abstraction
Portraits of urban and pastoral landscapes               as the “subject” rather than “object” of study.
became fragmented compositions cut by                    Likewise, art would be the subject rather than
unencumbered forms and shapes of color.                  the object of intellectuals.
Informed by the Surreal and the Dada, care               An ideological shift occurred that focused on
for spatial perspectives, logical sequence and           distinguishing technique, methods, and
proportion were interrogated in new ways, as             innovation, as the meaning in art was
artists reduced representational forms to                redefined by its process and construction.
impulses of texture, space, curves and
movement. Scholars and artists would explore
art as a process rather than product of                                - Aaron Bryant, Exhibition Curator
creation. A subject would be reduced to its
simplest form, in order to reveal its complexity.
Past an impression to an abstracted expression
of shape, tone and mood, these ideas would
reflect the existentialism of the times. Theorists
like Jean-Paul Sartre, who argued that there is
no reality or truth except in action, would be
explored through various aspects of humanity.

Randall J. Craig, Sr.
Randall Craig retired as professor of Arts                strong postures but subtle mannerisms that
Education at the University of Maryland,                  disclose a specific mood and character. The
College Park, where he was also coordinator of            inner life of a particular humanity is
the university’s Arts Education program. A                demonstrated through gestures and nuances in
Baltimore native, Craig received his masters in           countenance. Particular attention is paid to
Painting and Sculpture from the Tyler School of           the shape of a lapel, knot in a tie, or fold in a
Art at Temple University and his doctorate in             shirt or sweater to convey something specific
Arts Education from the University of Maryland.           about the subject of study. Light and shadows
Dr. Craig completed additional studies in                 shaped by the illusion of multiple layers add to
African art, music and literature at the University       the character’s three-dimensionality, as hair,
of Ghana, and has taught at Morgan and                    clothing and layers of demeanor fix a moment
Rutgers Universities.                                     of thought or compassion.
Craig’s work captures the temperament of his              In spite of these similarities, however, there are
subjects in sculptural form. He transforms clay           also important differences. The carriage of
models into figures made from modern                      Lewis’ sculptures portray his figures as overtly
materials, such as polyester, resin and                   powerful. Craig, however, captures the
fiberglass, while crafting three-dimensional              mannerisms of personalities at their most
snapshots of humanity. His art reflects an artist’s       human and bare. This vulnerability reveals a
memory, real or contrived, and the moments in             strength through humility. While it would
which one’s self is most telling and vulnerable.          appear that each artist works in smooth,
In many ways, he is a humanist. This might                finished forms, a closer examination of Craig’s
reflect the nature of his craft, while suggesting         sculptures reveals rough textures that are
impressions of his time spent at M organ.                 deliberate markings left by the artist’s hands
                                                          and technique. Each crease or curve of
In looking at Craig’s figural work, one sees
                                                          material is meant to capture a moment of
subtle influences of James Lewis, the artist and
                                                          action and creation.
teacher. Craig’s Professor James E. Lewis, a
bust of resin that stands at more than two feet,Lewis’ characters stare forward. There is tension
most resembles the technique of the artist’s    in the jawline, lips, and brow that reveal a self-
former mentor. The likeness in styles and       aware confidence. Conversely, Craig’s
technique is part of Craig’s homage to his      characters look slightly to the right of the viewer
professor.                                      in modesty. Although the posture is sometimes
                                                stern, the face is relaxed, the brow is soft and
In comparing the styles of Craig and Lewis, one
                                                the eyes are yielding to convey an intuitive
notes that each artist constructs figures with

    Randall J. Craig, Sr.
    Professor James E. Lewis, 1992
    Resin, 31” X 29” X 25½”
    Gift from Ms. Jacqueline A. Lewis, n/d

Reva Goodwin Lewie
Reva Lewie’s art easily identifies with the         Toro has an expansive vocabulary of
Abstract Expressionists of the 1950s and 1960s.     fragmented forms. Crescent shapes and an
Shortly after graduating from Morgan in 1956,       uncontrived linear motif formulate a billowing
Lewie left Baltimore for New York to pursue her     sense of movement and energy. The bull in the
masters and train under Hale Woodruff.              portrait is not pictorial but is semiotically
Woodruff, an accomplished artist who studied        configured and suggested by the animal’s hoof
mural painting with Diego Rivera, was teaching      in the portrait’s lower right corner. There is also
at New York University (NYU) at the time. Under     the suggestion of horns, a head and cape that
his guidance, Lewie was able to position herself    shields a conceptual matador.
at the center of an emerging art history and
                                                   This work seems most inspired by Romare
                                                   Bearden and his abstracted figures shaped by
Woodruff was key to Lewie’s creative               collage. Elements of Bearden’s 1946 portrait
development. As an early Abstractionist and        Now the Dove and the Leopard Wrestle are
one of the three founding members of Studio        present. This particular Bearden piece plays on
35, an important meeting place and training        Picasso’s Guernica. There are also elements of
ground for Abstract Expressionists, the instructor Bearden’s Crucifixion and Iliad Series. As figures
encouraged Lewie to explore new techniques are cut by line and color, shapes overlap and
through a powerful but nascent genre. These        intermingle. The lines and coloration in the
explorations are still evident in her work today. latter series by Bearden resemble stained glass,
                                                   a medium with which Lewie is familiar. Glass is
Breaking away from conventions in both
                                                   often the primary material of her art.
technique and subject matter, Lewie’s art is
marked by a focus on the surface qualities of      As with many artists, Reva Lewie’s work
the materials used. Stained glass, metal, and      responds to life experiences. She invites the
other media reveal an improvisation and            viewer to look beyond the visual to the
“strategic spontaneity” in her approach to art. imagination and emotion in her work.
As with many Abstract Expressionists, she
focuses less on figurative representation and
more on the interplay of lines and color. This is
evident in portraits such as El Toro in Green.
While the piece is indicative of the work Lewie
produced in later years, it reflects her earlier
influences and training at both NYU and

    Reva Goodwin Lewie
    El Toro In Green, 1980
    Mixed Media with Stained Glass, 27 ” X 23¾” Framed
    Gift from the Artist, 1990

Robert Reed
Robert Reed was sixteen when he arrived at          The biographical references written into the
Morgan to study under Alberto Sangiamo and          paint are subtle, as the artist incorporates colors
James Lewis. After graduating, Reed                 from pivotal points in his history. A chromatic
continued his studies at the Yale School of Art     spread of red with black and green with gold
and received an additional bachelors and a          reference his junior high and high schools.
masters in fine arts. In later years, his solo      Orange and blue represents Morgan and blue
exhibitions would include shows at the Whitney      and white is Yale. Each reference fuses Reed’s
and Bayly Museums, the Washburn in New York,        early life history with his career as an artist and
and the M cIntosh in Atlanta. Additionally,         teacher. Arriving at Yale several years after
Reed’s work would become part of permanent          Josef Albers, Reed experimented with spatial
collections across the country, including the       relationships and the creation of tension in
Hirshhorn, the Walker and the Whitney.              abstract work. Perhaps the New Haven
                                                    connection influenced his technique in design
Reed’s portraits are distinct in their geometric
                                                    and mechanics with fields of color to construct
themes. Circles, curves and lines of color
                                                    geometric abstractions.
emphasize the interplay of hues to heighten the
nonfigurative motifs. His art is a study of tonesThere is a dimensionality in Reed’s work,
and shapes that investigate the energy and       however, unlike the flat planes of color found in
optical effects of form. Large, bold circles and Albers’ constructions such as his Homage to the
spheres are balanced by thin lines that repeat   Square. Reed’s portraits have shifts in
to create an electron of energy or loom of       perspective and scope, in which images are
textile woven into the portrait’s dimensions.    layered along the illusion of various three-
Through paint, the artist creates complex        dimensional axes. Reed, who has studied the
canvases with layered textures that add to the   technique of the Italian Renaissance, more
portrait’s three-dimensionality.                 specifically the painter Paolo Uccello, brings
In viewing Reed’s work, the observer becomes methods from the Quattrocento wall paintings
part of the DNA, the canvas and its theoretical into abstract modernism. This confluence of
ideas. Ideograms are visual documents about technique and vocabulary adds a
the artist’s past and the techniques he uses to  philosophical dimension to Reed’s portraits as
move from past to future to present. This        well. The large canvases are intended to be
suggests, as with Randall Craig, that Reed’s     viewed at a distance and then up close for the
work is a journal of memory, real and contrived. textural readings of expressive brushstrokes,
It is a semiotic language composed of personal drippings, scratches, smudges, and other signs
graphic characters and retentions.               of the artist’s hands.

     Robert J. Reed, Jr.
     School Colors #1, 2004
     Acrylic & oil marker on canvas, 89½” X 65½”
     Loan from the Artist

     School Colors #2, 2004
     Acrylic & oil marker on canvas, 89½” X 80½”
     Loan from the Artist

     School Colors #3, 2004
     Acrylic & oil marker on canvas, 82½” X 69½”
     Loan from the Artist

     * Images are cropped
Virginia Evans Smit
Virginia Evans Smit graduated from Morgan          critical piece in the series. The image, rapt with
and went on to receive her masters from the        swirls and gestural marks, suggests the currents
University of Pennsylvania. She later completed    and turbulence of the Caribbean Sea. Red
coursework towards a doctorate and received        and gold fish bring to mind Japanese Koi fish
another masters from Columbia University in        that swim in Smit’s palette of blue, gold, orange
New York. There, Smit was influenced by the        and white. The colors enhance the rhythm and
New York Abstractionist, including the work of     movement of the piece.
Joan M itchell, a “Second Generation Abstract
                                                   Smit captures the local color and cadences of
                                                   landscapes in her work, with Celebration
In addition to studying painting and sculpture, representing aquatic geographies. Through an
Smit experimented with printmaking in which        intricate process of photo transfer, lithography,
she reintroduced Realism into her work. In         relief printing, silkscreen, and monotype, she
subsequent years, her style transformed into       combines these techniques with organic brush
semi-abstraction that “reimagined” Realism.        strokes that leave a flat but layered effect. By
While her work today seems most inspired by        blending Japanese woodblock printing with
artists like Robert Rauschenberg, Clare            the spontaneity of Zen painting, Smit creates a
Romano, William Maxwell and Romare                 unique synthesis of technique and style. The
Bearden, there are also discernible influences     portrait’s syncretism appears free, effortless and
of 19 th and 20th century Asian prints and African natural. There is no maker and no “thing”

ceremonial drawings.                               being made. Likewise, there is no artist or art
                                                   being made. The two are one.
Smit created Celebration during a period in
which she experimented with silkscreening          In Celebration, the viewer notes the loose
combined with woodcut printmaking. The end brushstrokes reminiscent of Joan M itchell,
result was art that resembled the aesthetic        whose technique was inspired by Kadinsky.
effects of Chinese prints and “Ukiyo-e,” a genre Smit’s images, however, have less tension. The
of Japanese woodblock printing, which was          strokes are less frenetic and frenzied, but still
adopted from China. “Ukiyo-e” translates into maintain a sense of uninhibited energy. Again,
“pictures of the floating world” and Celebration as with Zen painting, the maker and made are
visually employs and references the term.          one. Similarly, the artist and her creations work
Alternating time between the States and            interdependently, as one liberates as the agent
Barbados, Smit crafted a series of fish and        for the other.
water motifs that were inspired by her winters
spent in the Caribbean. Celebration was a

     Virginia Evans Smit
     Celebration, 1988
     Lithograph, 28½” X 40½”
     Gift from the Artist, 1990

Lawrence Sykes
Lawrence Sykes retired as a professor of art at     identity that mirrors a character that is
Rhode Island College in Providence, where he        congealed, accentuated, or masked. The
developed the curriculum for the school’s           photographer looks beyond the mask. He “re-
photography concentration. After receiving his      envisions” and constructs alternative social
undergraduate degree from Morgan, Sykes             possibilities that mediate contradictions in
earned his masters at the Pratt Institute in New    material forms and social structures. Like an
York. During the 1960s, he served as Director of    ethnographer, he silently comments through
the Carl J. M urphy Fine Arts Center at M organ     capturing what he observes. In turn, the viewer
and later taught at New York University, the        is compelled to confront the layered meanings
College of Art in Kumasi, Ghana, and the            that objects assume, as they are seen through a
Parsons School of Design West Africa Program.       single lens with multiple dimensions.
Sykes also served as commissioner for the
                                                    There is no direct route from the material object
Rhode Island State Council on the Arts. Along
                                                    to the social history. Every cultural artifact is
with numerous commissions that include work
                                                    more than itself and is inseparable from its social
for the Smithsonian National Zoological Park, his
                                                    production and cultural appropriation. To
photography and illustrations have appeared in
                                                    reproduce the past one must connect history to
dozens of books and academic journals.
                                                    memory. Sykes, as a storyteller, captures those
Additionally, Sykes’ portraits have been
                                                    memories through photography.
collected and exhibited by museums
throughout the U.S., Brazil and Malawi in           Storytelling is a mnemonic practice of
Southeast Africa.                                   incorporating the past into the present. Sykes,
                                                    as storyteller, does not aim to convey a pure
He is at once a photographer, archeologist,
                                                    abstract essence of history. In “his story” the
and material culturalist. For more than fifty
                                                    past is incorporated into the life or the social
years, Sykes has surveyed the world and its
                                                    praxis of the storyteller in order to recreate,
humanity through a camera’s vision. A gate, a
                                                    relive and retell. Traces of the narrator cling to
door, an old house and personalities take on
                                                    the narrative the way that handprints of the
new meaning through the gaze of his lens.
                                                    potter cling to clay. If an image is worth a
Shadows bent by shapes and forms of cultural
                                                    thousand words, then Sykes has a million stories
landscapes reveal a civilization’s presence and
                                                    to share.
sometimes absence. Through the
temperaments and outward signs of
materialized ideas, Sykes discovers then
uncovers his subjects.
For Sykes, material culture is a reflection of

     Lawrence Sykes
     Massawa: By t he Red Sea, 2001
     Color Photograph, 9” X 6”
     Loan from the Artist

     Massawa: From t he Against All Odds Series , 1999
     Color Photograph, 8½” X 5½”
     Loan from the Artist

Jack White
After receiving his bachelors from Morgan,          landscapes inspired by cultures outside the
Jack White continued his studies at Syracuse as     West.
part of the university’s Museum Arts program.
                                                    In his portrait Afro-American Form #105, the
He has been featured in various solo and group
                                                    lines and shapes are more formal and defined
exhibitions, with work represented in the
                                                    than the Transitional canvases. The portrait of
permanent collections of institutions like the
                                                    acrylic paint on wood seems an African
Urban League and the Schomburg Research
                                                    collage of abstracted masks and textiles. Not
Center in New York. He works in a range of
                                                    unlike early Cubists, White combines elements
nonfigurative forms. As with many
                                                    of traditional African themes and designs with
Abstractionists, White asserts his individuality
                                                    the shapes and lines of modernism. One might
through the act of creation, experimenting with
                                                    say the portrait is an ironic abstraction of
distinct methods that combine unusual
                                                    Cubism, which itself signifies on African art. The
materials and techniques.
                                                    portrait becomes not merely an ideological
As a color field painter, he gives his portraits    geography but a mnemonic one in which the
impact through a strategic use of unified colors    image connects to memory, a theme that
and shapes. Unlike action painters who are          relates to each of the six artist. Paint applied
concerned with capturing the spontaneity of         with an impasto knife gives the composition
the artist’s gestures during creation, White is     sharp edges, while strokes with a comb add
more conscious of the effect he hopes to            textural markings. This portrait is one of an
achieve through specific processes and              expansive oeuvre of canvases in which White
materials. In his portraits Transitional 19 and     uses an African-inspired visual language.
Transitional 20, White experiments with
                                                    The painter acknowledges the influence his
computer cards as his textural canvas. He
                                                    past teachers have had on his development.
began exploring ways to create with the media
                                                    Albert Sangiamo, for example, inspired White
during the 1970s with his exhibition The
                                                    and other M organ undergraduates to open
Corporate Edge. While there is a sense of
                                                    their imaginations to explore their unique voices
energy that stems from what appears to be a
                                                    and contributions. Likewise, James Lewis
marked spontaneity, the energy is free but
                                                    encouraged his students to take risks, exhibit
controlled, as in Virginia Smit’s Zen technique.
                                                    and track the activities in the field to shape
The choice of materials and approach, as well       themselves professionally. As do the other
as the balance and weight of shapes and             artists participating in this exhibition, White
colors suggest the two portraits are more than      continues to follow the advice of his mentors. It
gestural, subconscious and Sarterian. Again, as     is part of the continuum of the teachers’
in Smit’s art, White is constructing ideological    influence and the artists’ legacy.

     Jack White
     Afro-American Form #105, 1972
     Acrylic on Wood, 48” X 50
     Transit ional 19, 1995
     Mixed Media on Paper, 53” X 24”
     Gift of the Artist, 1998

     Transit ional 20, 1995
     Mixed Media on Paper, 53” X 24”
     Gift of the Artist, 1998

Exhibition Checklist
Randall J. Craig, Sr.                                         Girl with Treasures, 2006
   And I’ll Follow, 1988                                      Stained glass on masonite, 24” X 18”
   Polyester resin and fiberglass, 24½” X 18½” X 12½”
                                                              Reclining Villager: Odalesque, 2007
   Mat e in Two Moves, n/d                                    Stained glass on panel, 20” X 24”
   Mixed media, 24” X 32” X 18”
                                                              The Graduat es, 2007
   Mult iple Self Port rait, 2000                             Stained glass on panel, 24” X 18”
   Polyester resin and fiberglass, 38½” X 48½” X 2”
                                                          Robert J. Reed, Jr.
   Port rait of Dr. Adkins, 1992                              School Colors #1, 2004
   Plaster of Paris, 20½” X 25” X 22”                         Acrylic and oil marker on canvas, 89½” X 65½”

   Port rait of Fern, 2007                                    School Colors #2, 2004
   Hydrocal, 30” X 18½” X 15”                                 Acrylic and oil marker on canvas, 89½” X 80½”

   Port rait of Michael, 2005                                 School Colors #3, 2004
   Polyester resin and fiberglass, 20½” X 19” X 16”           Acrylic and oil marker on canvas, 82½” X 69½”

   Professor James E. Lewis, 1992                         Virginia Evans Smit
   Resin, 31” X 29” X 25½”                                    Bahia, 1993
   Gift from Ms. Jacqueline A. Lewis, n/d                     Acrylic on paper with collage, 30” X 22”

   The Recidivists, 1972                                      Black Ghost of the West, 2003
   Polyester resin and fiberglass on wood, 20¾” X 32⅛”        Monoprint on Arches cover, 21” X 29”
   Gift from Sigmund M. Hyman, 1984
                                                              Canadian Rockies #3, 2003
   Two Women, n/d                                             Monoprint on Arches cover, 11½” X 15”
   Polyester resin and fiberglass, 24” X 24” X 17½”
                                                              Canadian Rockies #4, 2003
   Woman wit h Glass, 1999                                    Monoprint on Arches cover paper, 11½” X15”
   Plaster of Paris and wood, 34½” X 28½” X 2”

Reva Goodwin Lewie                                            Celebration, 1988
                                                              Lithograph, 28½” X 40½”
   Amoeba, n/d
                                                              Gift from the Artist, 1990
   Aluminum and epoxy, 24” X 20¼”
   Gift from the Artist, n/d                                  Fall Breeze, 2006
                                                              Monoprint on Arches cover paper, 30” X 22”
   Best Friends, 2006
   Stained glass on panel, 24” X 20”                          Hambone, 2000
                                                              Silkscreen, 24” X 15”
   Const ruction, 2003
                                                              In Bloom #3, 2007
   Metal and enamel, 24” X 32” X 18”
                                                              Monoprint, 30” X 22”
   Dream Girl, 2007                                           Vagas Spread, 2003
   Stained glass on panel, 24” X 18”                          Monoprint on Arches cover, 30” X 22”

   El Toro In Green, 1980
   Mixed media with stained glass, 27 ” X 23¾” Framed
                                                          Works for the exhibition are on loan from the artist s except where not ed.
   Gift from the Artist, 1990

Lawrence F. Sykes                                         Ancestral Memory 041, 2007
  Ancient Rout es: India, 2007                            Canvas, copper, acrylic and masonite, 11” X 14”
  Paper, wood and foam core, 8” X 17”
                                                          Ancestral Memory 049, 2007
  Cap Hait ian Morning, 1972                              Acrylic on Rives paper, 11” X 14”
  Photo montage, 9½” X 7½”
  Collection of Dr. Randall J. Craig, Sr.                 Ancestral Memory 063, 2006
                                                          Acrylic, canvas on wood, 15” X 18”
  Corner in Sevilla, 1998
  Photographs and dowel, 6½” X 16½”                       Kirk Park Series, 1988
                                                          Oil/acrylic, IBM cards on canvas, 40½” X 40½”
  Gods of the Woods, n/d                                  Gift from Ms. Dorothy Wright
  Mixed media in shadow box, 37” X 25½”
  Collection of Dr. Randall J. Craig, Sr.                 Mask Images, 2007
                                                          Acrylic on paper and board, 11” X 14”
  Massawa: Against All Odds, 1999
  Three color photographs, 8½” X 17”                      Ode t o an Ancest ral Warrior, 2007
                                                          Acrylic on Rives paper, 12” X 12”
  Massawa: Boy/Mosque/Ball, 2005
  Color photos (3) on board, 9” X 6”                      Transit ional 19, 1995
                                                          Mixed Media on Paper, 53” X 24”
  Massawa: By t he Red Sea, 2001                          Gift from the Artist, 1998
  Mixed media, 13” X 10½”
                                                          Transit ional 20, 1995
  Three Book Jacket s I (Illust ration), 2007             Mixed Media on Paper, 53” X 24”
  Drawing, collage, photography, 8” X 5”                  Gift from the Artist, 1998

  Urban St udy (Tompkins Park): Broken Swing, 1968
  Photograph (silverprint), 6” X 9”
  Gift from the Artist, n/d

  Urban St udy (Tompkins Park): Untitled, 1968
  Photograph (silverprint), 8” X 8”
  Gift from the Artist, n/d

Jack White
  Afro-American Form #105, 1972
  Acrylic on wood, 48” X 50 ”⅞
  Gift from the Artist, 1975
  Ancestral Memory 037, 2007
  Mixed media, 13” X 16”

  Ancestral Memory 038, 2007
  Mixed media, 14” X 16”

  Ancestral Memory 039, 2007
  Mixed media, 13” X 16”
                                                      Works for the exhibition are on loan from the artist s except where not ed.

Notes & Signatures

     Brochure narrative, build & design—aebryant, curator

James E. Lewis Museum of Art
 Where Art, Histories & Cultures Meet