#Woodson Museum

[longlistshort]

Mary Ann Carroll (1940-2019), “Untitled (Backcountry Twilight)”, n.d., Oil on Masonite board

Harold Newton (1934-1991), “Untitled (Painting of the Indian River)”, c. 1958, Oil on Upson board; Alfred Hair (1941-1970), “Untitled (Marshland with palm), c. 1958, Oil on Upson board

James Gibson (1938-2017) “Untitled (Moonlit palms)”, n.d., Oil on Upson board

In early 2021, Tampa Museum of Art presented the work of Florida’s famous Highwaymen painters in the exhibition Living Color: The Art of the Highwaymen.

From the museum-

The Highwaymen are a group of African American artists celebrated for their distinctive paintings of Florida’s natural environment. Working in and around the Fort Pierce area beginning in the 1950s, these self-taught artists depicted the state’s scenic coastline and wild backcountry, often in dazzling combinations of color and tone. Brilliant tropical sunsets, windblown palms, towering sunlit clouds, and blooming poinciana trees are among the many subjects that have become iconic images of Florida in part because of the paintings that the Highwaymen created. In the state’s postwar boom years their paintings found an enthusiastic audience among a growing population of new residents and visitors. Unrecognized by the region’s art establishment of galleries and museums, the Highwaymen by necessity catered directly to their patrons, selling their paintings door-to-door along such thoroughfares as Route 1. It was from this practice that the name “Highwaymen” was later coined.

The popularity of Highwaymen paintings waned in the 1980s as the vision of Florida was reimagined by an ever-increasing population and once-pristine landscapes were lost to development. Then in the mid-1990s a new generation of collectors, with fresh eyes, rediscovered the paintings and began to assemble significant collections. These collectors saw the art of the Highwaymen as an important artistic legacy and together with several writers, scholars, and enthusiasts began the process of establishing the historical context and reevaluation of their work. Books and articles followed, bringing a new level of recognition for the achievements of these artists and, with that, growing popular acclaim. The contribution of the Highwaymen to the cultural life of Florida was formally recognized in 2004 when the group of 26 artists was inducted into the Florida Artists Hall of Fame.

Living Color: The Art of the Highwaymen brings together 60 paintings by a core group of the Highwaymen including Al Black, Mary Ann Carroll, Willie Daniels, Johnny Daniels, James Gibson, Alfred Hair, Roy McLendon, Harold Newton, Sam Newton, Willie Reagan, and Livingston Roberts.

Focusing on work produced from the 1950s to the 1980s, the exhibition is an in-depth examination of the group’s initial period of success when their groundbreaking style of fast painting was being developed. Fast painting is a hallmark and essential innovation of the Highwaymen. Facing limitations imposed by the racial prejudice of their time, they had little or no access to formal training or to conventional art markets. To overcome these obstacles, they produced large numbers of works which could be sold at very affordable prices. Some estimates of the group’s overall production during their heyday exceed 200,000 paintings, with certain artists creating dozens of paintings per day. Their creative response to the racism they confronted resulted in an original artistic practice.

Opening at The Woodson African American Museum of Florida in St. Pete this Saturday, 9/9/23, is Florida Highwaymen: The Next Generation – The Legacy Continues, an exhibition of work by Ray McLendon, son of Highwayman Roy McLendon, who creates Florida landscapes in the same iconic style his father used.

[baldwinheights]

Jean-Baptiste Pointe DuSable was born in Saint-Domingue, Haiti (French colony) during the Haitian Revolution. At some point he settled in the part of North America that is now known as the city of Chicago and was described in historical documents as "a handsome negro" He married a Native American woman, Kitiwaha, and they had two children. In 1779, during the American Revolutionary War, he was arrested by the British on suspicion of being an American Patriot sympathizer. In the early 1780s he worked for the British lieutenant-governor of Michilimackinac on an estate at what is now the city of St. Clair, Michigan north of Detroit. In the late 1700's, Jean-Baptiste was the first person to establish an extensive and prosperous trading settlement in what would become the city of Chicago. Historic documents confirm that his property was right at the mouth of the Chicago River. Many people, however, believe that John Kinzie (a white trader) and his family were the first to settle in the area that is now known as Chicago, and it is true that the Kinzie family were Chicago's first "permanent" European settlers. But the truth is that the Kinzie family purchased their property from a French trader who had purchased it from Jean-Baptiste. He died in August 1818, and because he was a Black man, many people tried to white wash the story of Chicago's founding. But in 1912, after the Great Migration, a plaque commemorating Jean-Baptiste appeared in downtown Chicago on the site of his former home. Later in 1913, a white historian named Dr. Milo Milton Quaife also recognized Jean-Baptiste as the founder of Chicago. And as the years went by, more and more Black notables such as Carter G. Woodson and Langston Hughes began to include Jean-Baptiste in their writings as "the brownskin pioneer who founded the Windy City." In 2009, a bronze bust of Jean-Baptiste was designed and placed in Pioneer Square in Chicago along the Magnificent Mile. There is also a popular museum in Chicago named after him called the DuSable Museum of African American History.

x

[eddy25960]

American artist Kris Parins

“Common Loon, Above and Below” - 2024

Watercolor

Permanently displayed in the “Birds in Art” exhibit at the Woodson Art Museum, Wausau, Wisconsin

[vestaignis]

Мир птиц в работах художника Джереми Пола.

The world of birds in the works of artist Jeremy Paul.

Джереми Пол родился в 1954 году в Ланкашире. Он сделал успешную карьеру в области морской биологии, прежде чем стал профессиональным художником. Его работа в области морской биологии привела его к жизни в отдаленные и красивые районы Британских островов. Именно когда он жил на западном побережье Шотландии, он начал серьезно рисовать. Он полностью художник-самоучка, работающий исключительно акрилом.

Сейчас художник живет со своей женой и двумя детьми на острове Мэн, а до этого много путешествовал по Индии, Африке, Северной Америке, а совсем недавно – по Антарктиде и Арктике. У Джереми было много персональных выставок. Его работы находятся в коллекции Художественного музея Вудсона в США и «Природа в искусстве», Международного центра искусства дикой природы в Глостере, Великобритания, где он является частью их программы проживания художников. Художник издает собственную серию гравюр с изображением дикой природы ограниченным и открытым тиражом. Так же его картины были воспроизведены на ряде почтовых марок, посвященных дикой природе. А в 2013 году вышла книга его картин с птицами.

Jeremy Paul was born in 1954 in Lancashire. He had a successful career in marine biology before becoming a professional artist. His work in marine biology took him to remote and beautiful areas of the British Isles. It was while he was living on the west coast of Scotland that he began painting seriously. He is a completely self-taught artist, working exclusively in acrylics.

The artist now lives with his wife and two children on the Isle of Man, and before that he traveled extensively to India, Africa, North America, and most recently Antarctica and the Arctic. Jeremy has had many solo exhibitions. His work is in the collection of the Woodson Art Museum in the USA and Nature in Art, the International Wildlife Art Center in Gloucester, UK, where he is part of their artist residency program. The artist publishes his own series of prints depicting wildlife in limited and open editions. His paintings have also been reproduced on a number of postage stamps dedicated to wildlife. And in 2013, a book of his paintings with birds was published.

Источник://www.jeremypaulwildlifeartist.co.uk/gallery/,

//creativeartworksblog.wordpress.com/2022/07/01/jeremy-paul-wildlife-artist/,

//www.icanvas.com/canvas-art-prints/artist/jeremy-paul?product=canvas&sort=popular,

//www.britishwildlifefinearts.co.uk/ourshop/cat_1438756-Jeremy-Paul.html,

//www.oscarsgallery.co.uk/Jeremy-Paul/C42-1-0.htm

[reasoningdaily]

In 1922, Carter G. Woodson, known as “the father of Black history,” bought the home at 1538 Ninth Street NW for $8,000.Credit...Scurlock Studio Records, Archives Center, National Museum of American History

In 1922, Carter G. Woodson, known as “the father of Black history,” bought the home at 1538 Ninth Street NW for $8,000. The home served as the headquarters for the Association for the Study of Negro Life and History (which is now known as the Association for the Study of African American Life and History, or A.S.A.L.H.).

It was where he ran the Associated Publishers, the publishing house focused on African American culture and history at a time when many other publishers wouldn’t accept works on the topic. It’s where The Journal of Negro History and The Negro History Bulletin were based, and it’s where he initiated the first Negro History Week — the precursor to Black History Month — in 1926.

“If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated,” Dr. Woodson famously wrote.

The site, owned by the National Park Service, is being restored and will likely be open to visitors starting this fall, a spokesperson for the Park Service said.

“If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and it stands in danger of being exterminated,” Dr. Woodson famously wrote.Credit...Kenny Holston/The New York Times

Though Dr. Woodson was the kind of neighbor who doted on children playing on the street and his stoop, even as other adults told them to behave, 1538 Ninth Street NW was more about his life’s work than serving as a traditional residence. It became known as Dr. Woodson’s “office home,” as Willie Leanna Miles, who was a managing director of the Associated Publishers, put it in her 1991 article “Dr. Carter Godwin Woodson as I Recall Him, 1943-1950.” The article was published in The Journal of Negro History, which was founded by Dr. Woodson and is still running as The Journal of African American History today.

[uniqueartisanconnoisseur]

Story of the Tennessee Agricultural Museum

I love history and learning the story behind the story! Thanks to friend and tractor collector Buddy Woodson for the invite to the Spring-Crank Up 2024, antique tractor show. During our visit to the show, and Tennessee Agricultural Museum, Buddy gave me a tour of the grounds of the Tennessee Department of Agriculture. Since then, I have been diving deep, and learning about the history of this…

[mybeingthere]

Michael Dickter: "My work engages the natural world ... images of birds or flowers talk to me of connection, of beauty, of freedom, and of the precarious and profoundly precious nature of our world. Making marks on a surface, choosing colours, dripping, obscuring and replacing images talk to this through the act of painting."

Michael Dickter has painted in the Northwest since the 1980's. He studied at the Art Students League and SUNY Cortland. He shows in galleries nationally and in Washington State. In 2017 he was featured in the Woodson Art Museums 42nd Annual “Birds in Art “ exhibition. His painting was bought by the Woodson for their permanent collection. He was also featured this year in Fine Art Connoisseur’s article ‘Today’s Masters - Avian Art Takes Flight!

[the-sayuri-rin]

On the street in front of The Woodson Museum in St. Petersburg, the words “Black History Matters” are painted as a mural. That message and the history on the block alone is what made The Woodson the perfect place to launch a Freedom School.

Jacqueline Hubbard with the Association of African American Life and History’s St. Pete chapter said she gave the concept a lot of thought.

“I was really active in the student nonviolent coordinating committee when I was in college," Hubbard said. "And I remember I was part of the freedom summer. I remember the Freedom Schools. And I wrote an article for the Weekly Challenger saying, 'Don’t you think it’s time we revisit the Freedom Schools? Don’t our kids need to be taught their own history?' Who can better teach it then those of us who are of the same group.” 

Hubbard also reacted to changes that were made to the new African American History teaching standards. 

"The curriculum is an abomination," she said. It makes me very angry when I read what they want to teach children."

[hilariusress]

Please touch the artwork: Woodson Art Museum introduces permanent tactile exhibit - Wausau Daily Herald

Please touch the artwork: Woodson Art Museum introduces permanent tactile exhibit  Wausau Daily Herald

[1973listener-blog]

Celebrating Juneteenth! Deb Carson on the Traci Mims Exhibit at Woodson African American Museum: Lunchtime Conversations June 11th RadioStPete https://audioboom.com/posts/8521126-celebrating-juneteenth-deb-carson-on-the-traci-mims-exhibit-at-woodson-african-american-museum

[longlistshort]

Currently at Carter G. Woodson Museum is Touch in the Spirit of Love, an exhibition of work by professor and artist Dr. Gary L. Lemons.

From the artist about his work (via the museum's website)-

“I am a Black abstract painter. Conceptually, my paintings are rooted in Africentric colors and patterns. I believe art should inspire all people to connect to the liberating power of communal love. Touch in the Spirit of Love is a series of paintings that graphically illustrate the value of love for all humanity. In an imaginary, spiritually enriched context—this series calls all people together to see each other reaching out to one another through the touching of their hands. The hands in my paintings connect people together to express hope for the life-saving power of love committed to community-building. As envisioned by Dr. Martin Luther King, Jr., hope for a “beloved community” can be realized when people actively join together to show love for social justice. Overall, the paintings in this series visually challenge people to see the need for loving wholeness in mind, body, heart, and soul. Hands of different colors touching each other in this painting series artistically demonstrate the power of love rooted in freedom for all people who have been historically oppressed.”

[rockislandadultreads]

Read-Alike Friday: Iona Iverson's Rules for Commuting by Clare Pooley

Iona Iverson's Rules for Commuting by Clare Pooley

Every day Iona, a larger-than-life magazine advice columnist, travels the ten stops from Hampton Court to Waterloo Station by train, accompanied by her dog, Lulu. Every day she sees the same people, whom she knows only by nickname: Impossibly-Pretty-Bookworm and Terribly-Lonely-Teenager. Of course, they never speak. Seasoned commuters never do.

Then one morning, the man she calls Smart-But-Sexist-Manspreader chokes on a grape right in front of her. He’d have died were it not for the timely intervention of Sanjay, a nurse, who gives him the Heimlich maneuver. This single event starts a chain reaction, and an eclectic group of people with almost nothing in common except their commute discover that a chance encounter can blossom into much more. It turns out that talking to strangers can teach you about the world around you - and even more about yourself.

Some of It Was Real by Nan Fischer

Psychic-medium Sylvie Young starts every show with her origin story, telling the audience how she discovered her abilities. But she leaves out a lot—the plane crash that killed her parents, an estranged adoptive family who tend orchards in rainy Oregon, panic attacks, and the fact that her agent insists she research some clients to ensure success.

After a catastrophic reporting error, Thomas Holmes’s next story at the L.A. Times may be his last, but he’s got a great personal pitch. “Grief vampires” like Sylvie who prey upon the loved ones of the deceased have bankrupted his mother. He’s dead set on using his last-chance article to expose Sylvie as a conniving fraud and resurrect his career.

When Sylvie and Thomas collide, a game of cat and mouse ensues, but the secrets they’re keeping from each other are nothing compared to the mysteries and lies they unearth about Sylvie’s past. Searching for the truth might destroy them both—but it’s the only way to find out what’s real.

The Lost Ticket by Freya Sampson

When Libby Nicholls arrives in London, brokenhearted and with her life in tatters, the first person she meets on the bus is elderly Frank. He tells her about the time in 1962 that he met a girl on the number 88 bus with beautiful red hair just like hers. They made plans for a date at the National Gallery art museum, but Frank lost the bus ticket with her number on it. For the past sixty years, he’s ridden the same bus trying to find her, but with no luck.

Libby is inspired to action and, with the help of an unlikely companion, she papers the bus route with posters advertising their search. Libby begins to open her guarded heart to new friendships and a budding romance, as her tightly controlled world expands. But with Frank’s dementia progressing quickly, their chance of finding the girl on the 88 bus is slipping away.

More than anything, Libby wants Frank to see his lost love one more time. But their quest also shows Libby just how important it is to embrace her own chances for happiness—before it’s too late—in a beautifully uplifting novel about how a shared common experience among strangers can transform lives in the most marvelous ways.

The Summer of Songbirds by Kristy Woodson Harvey

Nearly thirty years ago, in the wake of a personal tragedy, June Moore bought Camp Holly Springs and turned it into a thriving summer haven for girls. But now, June is in danger of losing the place she has sacrificed everything for, and begins to realize how much she has used the camp to avoid facing difficulties in her life.

June’s niece, Daphne, met her two best friends, Lanier and Mary Stuart, during a fateful summer at camp. They’ve all helped each other through hard things, from heartbreak and loss to substance abuse and unplanned pregnancy, and the three are inseparable even in their thirties.

But in spite of their personal problems, nothing is more important to these songbirds than Camp Holly Springs. When the women learn their childhood oasis is in danger of closing, they band together to save it, sending them on a journey that promises to open the next chapters in their lives.

[jenringwrites]

7 Reasons not to miss this Saturday’s ArtWalk in St. Pete

Nathan Beard shares his biggest and best “Exit Music” paintings at 2700 Central.

Florida Wax Members share their encaustic paintings at ArtLofts in “The Heat Is On.”

The Museum of Motherhood celebrates its grand opening in The Factory.

Artists swap ghost stories at Florida CraftArt.

The St. Pete Robot Exchange celebrates 10 years of metallic mayhem at the Morean Arts Center.

The Morean Arts Center showcases work by this year’s SHINE artists.

The Woodson shows Florida landscapes by second-generation Florida Highwayman Ray McLendon.

[dnaamericaapp]

Freedom Schools Launching To Teach Black History In Florida

As kids head back to school, there’s at least one subject that’s being talked about more outside of the classroom by state and local leaders.

The Board of Education released a new curriculum for African American history in grades K-12, and critics say it’s harmful to students, pointing out a section from the curriculum that says African Americans benefited from slavery.

The education commissioner is standing by those changes, and people across the state are pushing back, using a tool that dates back to before schools were integrated: Freedom Schools.

On the street in front of The Woodson Museum in St. Petersburg, the words “Black History Matters” are painted as a mural. That message and the history on the block alone is what made The Woodson the perfect place to launch a Freedom School.

Jacqueline Hubbard with the Association of African American Life and History’s St. Pete chapter said she gave the concept a lot of thought.

“I was really active in the student nonviolent coordinating committee when I was in college," Hubbard said. "And I remember I was part of the freedom summer. I remember the Freedom Schools. And I wrote an article for the Weekly Challenger saying, 'Don’t you think it’s time we revisit the Freedom Schools? Don’t our kids need to be taught their own history?' Who can better teach it then those of us who are of the same group.”

Hubbard also reacted to changes that were made to the new African American History teaching standards.

"The curriculum is an abomination," she said. It makes me very angry when I read what they want to teach children."

The Association of African American Life and History talked about an idea to launch a Freedom School back in 2014 and this summer in St. Pete, they graduated their first class. It’s something organizers say is perfect timing. -(source: spectrum 9 bay area news)

DNA America

“It’s what we know, not what you want us to believe.”

#dna #dnaamerica #news #politics

[reasoningdaily]

THE BLOUNT COUNTIAN: Black History is America's History

https://www.blountcountian.com/articles/black-history-is-americas-history/

Each February, Black History Month serves as both a celebration and a powerful reminder that Black history is American history. It’s important that we take the time to celebrate the immeasurable contributions of Black Americans, honor their legacies and achievements of past generations, reckon with centuries of injustice, and confront those injustices that still exist today.

Generations of Black Americans have demonstrated courage and resilience. Those generations have helped shape this nation. Those generations have helped shape this state and this county.

In a 2021 article published online through the National Library of Medicine, Monica Peek wrote, “Black history is beautifully moving because it is the story of triumph over adversity, determination in the face of uncertainty, and courage and conviction standing down hate and violence. To be Black in the U.S. is to know struggle. It is to fight against structural inequities and indignity. It may be that this constant striving for equity makes Black people all the more committed to the ideals of justice, freedom and equity for everyone.

“Black history is America’s history. The narrative of Black people in the U.S. reveals more about who we are as a country — our difficult past, our painstaking movements forward towards justice, and our persistent racial wounds that we refuse to heal — than the sanitized history that children learn in our school systems. The omission of this narrative is not only harmful for Black people, it is harmful and dangerous for the entire country. Without a common foundational understanding of our nation’s racial history, we cannot possibly begin to step progressively into a future of racial reconciliation.”

It was February 1926 when Carter G. Woodson created Negro History Week in Washington, D.C., to ensure that school children were exposed to Black history. Woodson, the second Black American to receive a PhD in history from Harvard, chose the second week in February in order to celebrate the birthday of both President Abraham Lincoln and Frederick Douglass. According to Lonnie Bunch, founding director of the National Museum of African American History & Culture in Washington, D.C, Woodson had two goals. “One was to use history to prove to white America that blacks had played important roles in the creation of America and thereby deserve to be treated equally as citizens. In essence, Woodson — by celebrating heroic black figures — be they inventors, entertainers, or soldiers — hoped to prove our worth, and by proving our worth — he believed that equality would soon follow. His other goal was to increase the visibility of black life and history. Ultimately Woodson believed Negro History Week — which became Black History Month in 1976 — would be a vehicle for racial transformation forever.”

The question has often been asked if there is a need to continue celebrating Black History Month each year. The answer is yes. Black history month continues to serves as a beacon of change and hope that is still needed today.

“The chains of slavery are gone — but we are all not yet free,” Bunch continued. “The great diversity within the Black community needs the glue of the African American past to remind us of not just how far we have traveled, but how far there is to go. One thing has not changed. That is the need to draw inspiration and guidance from the past. And through that inspiration, people will find tools and paths that will help them live their lives.

Celebrating Black History Month continues to serve us well. Ultimately, Black history — and its celebration throughout February — is just as vibrant today as it was when Woodson created it. Because it helps us to remember there is no more powerful force than a people steeped in their history. And there is no higher cause than honoring our struggle and ancestors by remembering.”

Black History Month affords us the chance to challenge what we learned in history and dig deeper. It allows us to learn about, celebrate, and honor Black leaders — leaders who sacrificed and suffered. And while those who contributed in the name of science and innovation were silently ignored, Black History Month continues to provide the platform to recognize and celebrate them today.

This week, there will be a local celebration of Black History Month as the Oneonta Southside and Sand Valley Civic Club hold the second annual African American Social in Oneonta’s Little Brick Church Friday. Doors open at 6 p.m. There will be special presentations as well as special music and dinner. While there is no cost to attend, donations to the club can be made.

The Blount Countian will be highlighting stories of Black history throughout the month of February to honor, recognize, and celebrate those who have forged the path for us today.

[bouncinghedgehoglikesart]

Assistant director and collections curator Amalia Wojciechowski describes the strange magic to American artist John Sloan’s (1871–1951) painting "Cornelia Street." Read about the artwork, recently acquired by the Woodson Art Museum, in this week's Woodson Wanderings blog post: "John Sloan’s New York."

Find the blog at https://www.lywam.org/john-sloans-new-york/