#augusta fells savage

[onenettvchannel]

BALITANG INTERNASYONAL: City High School Student in Baltimore sends back to Grade 9, after promoting 3 classes ranking near top half of class with 0.13 GPA due to his grade system failure [#OneNETnewsEXCLUSIVE]

(Written by Luz Isidora Noceda / Regional Correspondent of Disney XD News)

BALTIMORE, MARYLAND -- An unnamed 17 y/o Baltimorian city male student (who is now at the age of 20 this year in 2024) has only succeeded in passing 3 classes throughout his whole 4 years in high school. Curiously though, he was ranked in the upper half of his class, but his Grade Point Average (GPA) spells out an absolute, disastrously score of '0.13'. His parent student mother named 'Ms. Tiffany France', was shocked to learn that her son had been promoted, only to be returned to the 9th grade due to his "extremely poor" academic results during his past school years.

An exclusive investigation conducted by WBFF-TV 45's "FOX Baltimore" first broke the exclusive story on Tuesday (March 2nd, 2021 -- Maryland local time). It was discovered that during his time at 'Augusta Fells Savage Institute of Visual Arts' (AFSIVA) in West Baltimore, the student had flunked 22 classes, and was late or absent for a staggering 272 days. Despite these alarming statistics, only one teacher tried to request a parent conference, which 'Ms. France' claims that never happened.

Disney XD News' American regional correspondent 'Luz Isidora Noceda', via our internet-affiliated news organization of OneNETnews, reported that a student at AFSIVA ended up with a final rank of 62 out of 120. This means that about 48% of the students in and outside of the Maryland state didn't make it, yet they were promoted each year in some subjects like Algebra, Spanish and English. Such an apparent failure to observe formal education standards has already stirred enormous concerns regarding the legitimacy of AFSIVA's grading system, which simply, in short for as Augusta Fells Savage or AFS.

Following the issues related to AFS, the city student was made to join an accelerated programme at 'Francis Marion Wood High School' (FMWHS) in West Baltimore. Additionally, Baltimore City Council member 'Mr. Zeke Berzoff Cohen' is likely to propose a new mental healthcare-related school programme called the 'Trauma-Informed Care Taskforce' (TICT). This said programme is expected to equip the student with just the education and support that he needs to keep his things on track and acing for graduation in a good time. The parent of the Baltimorian student has also received a public apology through AFSIVA.

During a radio commentary segment on the 'C4 and Bryan Nehman Show' from a local newstalk AM radio station 'WBAL-AM 1090' reported that the AFS had the audacity to demand the closure of the school due to a grade-fixing scandal, along with allegations of fraud and corruption. But alas, the school management at AFS and school officials have turned down their request at the time of our news publication of OneNETnews.

In light of the ongoing investigation into the grade-fixing scandal at 'Augusta Fells Savage' and other Baltimore City school officials, the need is increased urgency in swift and decisive action, because of the imperative need for all students to receive high quality education. Albeit, the potential fraud and corruption existing within the school system, such allegations must be streamlined urgently to avoid any similar incidents happening again, or risk the entire closure of the school, which has now being tagged for a permanent revocation.

As of now, in the present today, the issue was yet to be resolved; despite all of these controversies, corruptions and scandals… There is already a sense of accountability over which measures would be found that would protect the integrity system in Baltimore education of the United States (U.S.). Such incidents of neglect and misconduct must not be seriously repeated, before the upcoming New Year's Eve for 2025, at the end of December this year in 2024.

PHOTO COURTESY: WBFF-TV 45's FOX Baltimore

Special Thanks to BlueRyai for contributing us a late news tip.

SOURCE: *https://foxbaltimore.com/news/project-baltimore/city-student-passes-3-classes-in-four-years-ranks-near-top-half-of-class-with-013-gpa *https://foxbaltimore.com/news/project-baltimore/calls-to-shut-down-city-school-where-013-gpa-ranks-near-top-half-of-class *https://foxbaltimore.com/news/project-baltimore/failing-baltimore-school-5-million-tax-dollars-augusta-fells *https://foxbaltimore.com/news/project-baltimore/council-member-apologizes-mother-son-promoted-despite-failing *https://foxbaltimore.com/news/project-baltimore/former-student-warns-do-not-send-your-child-to-augusta-fells *https://foxbaltimore.com/news/project-baltimore/report-augusta-fells-administrators-scammed-taxpayers-changed-grades *https://foxbaltimore.com/news/project-baltimore/report-failures-in-baltimore-city-schools-investigations-hinders-potential-augusta-fells-prosecutions *https://foxbaltimore.com/news/project-baltimore/baltimore-school-augusta-fells-savage-west-baltimore-high-school-report-finds-employees-violated-state-federal-laws-rick-henry-maryland-inspector-general-for-education and *https://foxbaltimore.com/news/project-baltimore/two-baltimore-schools-accused-of-grade-changing-shared-same-central-office-supervisor-jacque-hayden-digital-harbor-port-augusta-fells

-- OneNETnews Online Publication Team

[lollobarcollomanonmollo]

women artists that you should know about!!

-Judith Leyster (Dutch, 1609-1660)

During her life her works were highly recognized, but she got forgotten after her death and rediscovered in the 19th century. In her paintings could be identified the acronym "JL", asually followed by a star, she was the first woman to be inserted in the Guild of St. Luke, the guild Haarlem's artists.

-Artemisia Gentileschi (Italian, 1593-1656)

"... Si è talmente appraticata che posso osar de dire che hoggi non ci sia pare a lei, havendo fatto opere che forse i principali maestri di questa professione non arrivano al suo sapere". This is how the father Orazio talked about his nineteen year old daughter to the Medici's court in Florence.

In 1611, Artemisia got raped, and she had to Undergo a humiliating trial, just to marry so that she could "Restore one's reputation" , according to the morality of the time. Only after a few years Artemisia managed to regain her value, in Florence, in Rome, in Naples and even in England, her oldest surviving work is "Susanna and the elders".

-Elisabeth Louise Vigèe Le Brun (French, 1755-1842)

She was a potrait artists who created herself a name during the Ancien Règime, serving as the potrait painting of the Queen of France Marie Antoinette, she painted 600 portraits and 200 landscapes in the course of her life.

-Augusta Savage (Afro-American, 1892-1962)

Augusta started making figures when she was a child, which most of them were small animals made out of red clay of her hometown, she kept model claying, and during 1919, at the Palm Beach County Fair, she won $25 prize and ribbon for most original exhibit. After completing her studies, Savage worked in Manhattan steam laundries to support her family along with herself. After a violent stalking made by Joe Gould that lasted for two decades, the stalker died in 1957 after getting lobotomized. In 2004, a public high school, Augusta Fells Savage Institute of Visual Arts, in Baltimore, opened.

-Marie Ellenrieder (German,1791-1863)

She was known for her portraits and religious paintings. During a two years long stay in Rome, she met some Nazarenes (group of early 19th century German romantic painters who wanted to revive spirituality in art),after becoming a student of Friedrich Overbeck and after being heavily influenced by a friend, she began painting religious image, getting heavily inspired by the Italian renaissance, more specifically by the artist Raphael. In 1829, she became a court painter to Grand Duchess Sophie of Baden.

-Berthe Marie Pauline Morisot (French,1841-1893)

Morisot studied at the Louvre, where she met Edouard Manet, which became her friend and professor. During 1874 she participated at her first Impressionist exhibition, and in 1892 sets up her own solo exhibition.

-Edmonia Lewis or also called "wildfire" (mixed African-American and Native American 1844-1907)

Edmonia was born in Upstate New York but she worked for most of her career in Rome, Italy. She was the first ever African American and Native American sculptor to achieve national and international fame, she began to gain prominence in the USA during the Civil Ware. She was the first black woman artist who has participated and has been recognized to any extent by the American artistic mainstream. She Also in on Molefi Kete Asante's list of 100 Greatest African Americans.

-Marie Gulliemine Benoist (French, 1768-1826)

Daughter of a civil servant, Marie was A pupil of Jaques-Louis David, whose she shared the revolutionary ideas with, painting innovative works that have caused whose revolutionary ideals he shared, painting innovative works that caused discussion. She opened a school for young girl artists, but the marriage with the banker Benoist and the political career Of the husband had slowly had effect on her artistic career, forcing her to stop painting. Her most famous work is Potrait of Madeline, which six years before slavery was abolished, so that painting became a simbol for women's emancipation and black people's rights.

-Lavinia Fontana (Italian, 1552-1614)

She is remembered for being the first woman artist to paint an altarpiece and for painting the first female nude by a woman (Minerva in the act of dressing), commissioned by Scipione Borghese.

-Elisabetta Sirani. (Italian, 1698-1665)

Her admirable artistic skills, that would vary from painting, drawing and engraving, permitted her, in 1660, to enter in the National Academy of S. Luca, making her work as s professor. After two years she replaced her father in his work of his Artistic workshop, turning it into an art schools for girls, becoming the first woman in Europe to have a girls' school of painting, like Artemisia Gentileschi, she represent female characters as strong and proud, mainly drawn from Greek and Roman stories. (ex. Timoclea Kills The Captain of Alexander the Great, 1659).

[abwwia]

Augusta Savage (born Augusta Christine Fells; February 29, 1892 – March 27, 1962) was an American sculptor associated with the Harlem Renaissance. She was also a teacher whose studio was important to the careers of a generation of artists who would become nationally known. She worked for equal rights for African Americans in the arts. via Wikipedia

[whileiamdying]

The Black Woman Artist Who Crafted a Life She Was Told She Couldn’t Have

The sculptor Augusta Savage at work in her studio in Harlem.

At the dawn of the Harlem Renaissance, Augusta Savage fought racism to earn acclaim as a sculptor, showing her work alongside de Kooning and Dalí. But the path she forged is also her legacy.

By Concepción de León Published March 30, 2021

In 1937, the sculptor Augusta Savage was commissioned to create a sculpture that would appear at the 1939 New York World’s Fair in Queens, N.Y. Savage was one of only four women, and the only Black artist, to receive a commission for the fair. In her studio in Harlem, she created “Lift Every Voice and Sing,” a 16-foot sculpture cast in plaster and inspired by the song of the same name — often called the Black national anthem — written by her friend, James Weldon Johnson, who had died in 1938.

The sculpture was renamed “The Harp” by World’s Fair organizers and exhibited alongside work by renowned artists from around the world, including Willem de Kooning and Salvador Dalí. Press reports detail how well the piece was received by visitors, and it’s been speculated that it was among the most photographed sculptures at the Fair.

But when the World’s Fair ended, Savage could not afford to cast “The Harp” in bronze, or even pay for the plaster version to be shipped or stored, so her monumental work, like many temporary works on display at the Fair, was destroyed.

The story of the commission and destruction of “The Harp” and its eventual fate is a microcosm of the challenges Savage faced — and the ones Black artists dealt with at the time and are still dealing with today. Savage was an important artist held back not by talent but by financial limitations and sociocultural barriers. Most of Savage’s work has been lost or destroyed but today, a century after she arrived in New York City at the height of the Harlem Renaissance, her work, and her plight, still resonate.

Augusta Savage at work on the sculpture that would become known as “The Harp.” Credit... via The New York Public Library

“Disagreeable complications”

Savage, born Augusta Christine Fells in Green Cove Springs, Fla., in 1892, was the seventh of 14 children. She started making animal sculptures from clay as a child, but her father strongly opposed her interest in art. Savage once said that he “almost whipped all the art out of me,” according to the Smithsonian American Art Museum.

Savage arrived in Harlem a century ago in 1921 in the early years of the Harlem Renaissance. She was nearly 30; had already been twice married, widowed and divorced; and had a teenage child, Irene, whom she left in the care of her parents in Florida. She applied and was accepted to the Cooper Union art school, and completed the four-year program in three years. She took the surname Savage from her second husband, whom she divorced. In 1923, she married Robert L. Poston, her third and final husband. Poston died a year later.

The year she married Poston, Savage was one of 100 women awarded a scholarship to attend the Fontainebleau School of Fine Arts in Paris. But when the admissions committee realized that it had selected a Black woman, Savage’s scholarship was rescinded.

In a letter explaining the decision, the chairman of Fontainebleau’s sculpture department, Ernest Peixotto, expressed concern that “disagreeable complications” would arise between Savage and the students “from the Southern states.”

Savage did not accept the rejection quietly. “She used the Black press to make the limits that she was facing known to the larger national and international public,” Bridget R. Cooks, an art historian and associate professor at University of California, Irvine, said. “She had a real determination and sense of her own talent and a refusal to be denied.”

In the years after the Fontainebleau episode, Savage was commissioned to create busts for prominent African-American figures such as the sociologist and scholar W.E.B. Du Bois and the Jamaican activist Marcus Garvey. She also created “Gamin,” a painted plaster bust portrait based on her nephew that became one of her most well-known pieces, praised for its expressiveness. (It was later cast in bronze.)

“Gamin” earned her a Julius Rosenwald fellowship in 1929 to travel to Paris, which had become a refuge for Black artists, including the painter Palmer Hayden and the sculptor Nancy Elizabeth Prophet. Savage studied at the Académie de la Grand Chaumière and had works displayed at the Grand Palais and other prominent venues.

When she returned to Harlem in 1932, she opened the Savage Studio of Arts and Crafts, where she taught prominent artists such as Jacob Lawrence, Gwendolyn Knight, Norman Lewis and Kenneth B. Clark. Clark later turned to social psychology and developed, with his wife Mamie, experiments using dolls to show how segregation affected Black children’s self-perception.

The community-driven education that Savage championed is part of the African-American tradition, Dr. Cooks said, because Black people have historically been excluded from formal academic spaces. “But for her to open her own school is something entirely different,” Dr. Cooks added. “That is becoming a business person. That’s taking on a leadership role for which she doesn’t have any models in terms of Black people in the art world and Black women in particular. ”

In 1934, Savage became the first African-American member of the National Association of Women Painters and Sculptors (now the National Association of Women Artists). In 1937, she worked with the W.P.A. Federal Art Project to establish the Harlem Community Art Center and became its first director. Eleanor Roosevelt, who attended its inauguration, was so impressed with the center that she used it as a model for other arts centers across the country.

Gwendolyn Bennett, Sara West, Louise Jefferson, Augusta Savage and Eleanor Roosevelt in 1937. Credit... The New York Public Library/Schomburg Center

“She created a pathway for careers for Black artists,” Tammi Lawson, the curator of the art and artifacts division of the Schomburg Center, which has the largest holding of Savage’s work, said. “She taught them, she gave them the tools, and she got them work.”

Sandra Jackson-Dumont, the director and chief executive officer of the Lucas Museum of Narrative Art in Los Angeles, agrees. “She, for me, represents someone who believed that she wasn’t compromising her studio practice or who she was by teaching and bringing people along,” said Ms. Jackson-Dumont, adding that Savage understood “how to use the system’s resources to catalyze folks.”

Yet the later years of Savage’s artistic career were marked by adversity. After taking a hiatus to work on her sculpture for the World’s Fair, Savage returned to the Harlem Community Art Center to find that her job had been filled. She briefly tried to establish the Salon of Contemporary Negro Art in Harlem in 1939, but the gallery lasted only three months.

“Joe Gould’s Teeth,” a 2016 book by the historian Jill Lepore, revealed archival evidence that Gould, an eccentric writer, had harassed Savage by calling her incessantly, insulting her, following her to parties and telling people she had agreed to marry him. In the early 1940s, Savage abruptly left her home in Harlem for a farmhouse in Saugerties, N.Y., in the Catskill Mountains, where she continued to make busts and teach local children. In Harlem, the community art center she had founded was closed in 1942 when federal funds were cut during World War II.

Savage remained in Saugerties until Gould died in 1957 and she only later returned to Harlem. She died in relative obscurity in March 1962 of cancer, at 70.

“A blueprint for what it means to be an artist that centers on humanity”

Jeffreen Hayes, who is now a curator and the executive director of Threewalls, an arts nonprofit in Chicago, was a graduate student at Howard University when she learned about Augusta Savage’s work. A professor mentioned the sculptor in passing during a section on the Harlem Renaissance.

“I remember my professor showing slides of Augusta Savage,” Dr. Hayes said, “and then we just kind of moved on.”

Dr. Hayes, though, was struck by this story of a resilient Black woman whose greatest works have been lost but who made a life as an artist, teacher, arts center director and community organizer against the backdrop of Jim Crow laws and the Great Depression.

“I don’t think about Augusta Savage as someone who only made objects,” Dr. Hayes said, but rather as someone who “has really left behind a blueprint of what it means to be an artist that centers humanity.”

In 2018, Dr. Hayes curated the exhibition “Augusta Savage: Renaissance Woman” at the Cummer Museum in Jacksonville, Fla., which aimed, according to the catalog, to “reassess Harlem Renaissance artist Augusta Savage’s contributions to art and cultural history in light of 21st-century attention to the concept of the artist-activist.”

“Savage’s artistic skill was widely acclaimed nationally and internationally during her lifetime,” the catalog reads, “and a further examination of her artistic legacy is long overdue.”

At a moment when discourse has centered on the artistic and political role of public art and monuments, the continuing absence of a work like “The Harp” becomes even more acute.

After the Civil War, as cities evolved in the 19th and 20th centuries, sculptors formed close alliances with architects, such that parks, town squares and other public spaces were designed with sculptures in mind. Unlike paintings, which are typically housed in museums, sculptures and monuments hold an outsized symbolic value because of their presence in public life.

“Your public art should align with a community’s values,” said James Grossman, the executive director of the American Historical Association. “Every generation, each state should step back and say, maybe it’s time for somebody else” to be honored.

Savage with her sculpture “Realization” in 1938. Credit... Andrew Herman, via The New York Public Library/Schomburg Center

In assessing “Augusta Savage: Renaissance Woman,” the Times art critic Roberta Smith noted of another Savage sculpture titled “Realization”: “It never made it beyond its forcefully modeled nearly life-size clay version. It’s heartbreaking to think the difference its survival might have made.”

Recently, in the context of questions over Confederate monuments, there have been calls to recreate Savage’s “The Harp” and display it at the National Museum of African American History and Culture in Washington.

Savage viewed her own legacy with humility, putting the emphasis on the success of her students. In a 1935 interview in Metropolitan Magazine, she said, “I have created nothing really beautiful, really lasting, but if I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work.”

Dr. Cooks said she “would disagree” with Savage’s assessment of her own work; “I think everybody would,” she added. For Dr. Cooks, it’s clear that Savage saw her legacy as “someone who could set up opportunities for other people who were younger than her, to have the space to build a Black infrastructure, essentially, so they could succeed.”

In this sense, Savage’s legacy lies as much in the life she built for herself as in the work she made for the world, as evidenced in surviving film of Savage guiding students or creating sculpture in her studio.

In her work at Threewalls, Dr. Hayes said she aims to honor Savage’s mission: to “build a larger ecology that intentionally builds a relationship with community,” as Dr. Hayes put it.

Dr. Hayes didn’t have the support of people like Savage to guide her in the art world early on. “I feel really good that I can pass on that wisdom to the next generation coming up,” she said.

A correction was made on:

March 31, 2021 An earlier version of this article misstated the surname of the director and chief executive officer of the Lucas Museum of Narrative Art in Los Angeles. She is Sandra Jackson-Dumont, not Dumont-Jackson.

A correction was made on April 5, 2021 An earlier version of this article misstated the year of Joe Gould's death. He died in 1957, not 1954. When we learn of a mistake, we acknowledge it with a correction. If you spot an error, please let us know at nytnews@nytimes.com.

[lboogie1906]

Augusta Savage (born Augusta Christine Fells; February 29, 1892 – March 27, 1962) was an African-American sculptor associated with the Harlem Renaissance. She was a teacher whose studio was important to the careers of a generation of artists who would become nationally known. She worked for equal rights for African Americans in the arts. She began making figures as a child, mostly small animals out of the natural red clay of her hometown, Green Cove Springs Florida. Her father was a poor Methodist minister who strongly opposed his daughter’s early interest in art. This was because, at that time, he believed her sculpture to be a sinful practice, based on his interpretation of the "graven images" portion of the Bible. She persevered, and the principal of her new high school in West Palm Beach, where her family relocated, encouraged her talent and allowed her to teach a clay modeling class. This began a lifelong commitment to teaching as well as creating art. #africanhistory365 #africanexcellence https://www.instagram.com/p/CpNMJ0GLnEh/?igshid=NGJjMDIxMWI=

[vomitdodger]

The report on the Augusta Fells Savage student noted that Tiffany France’s 17-year-old son only passed three classes in four years and had a 0.13 grade point average. That isn’t enough to graduate, and the student will end up back in 9th grade starting next school year, France said.

[delux2222]

Harp, New York World's Fair (1939-1940)

by Augusta Savage (African-American sculptor associated with the Harlem Renaissance, born Augusta Christine Fells, 1892 – 1962)

[elijahwrites]

Jacob Lawrence’s “Migration Series”

Jacob Lawrence hard at work.

The Migration Series by Jacob Lawrence is a sixty piece series of paintings about The Great Migration. The Great Migration was an event that went from 1916 to 1970, where millions of Blacks went to the north to escape the dangers and cruelty of the south, especially since there were lynchings. The north had better jobs and pay, but it also had racism still. Jacob Lawrence was 23 years old when he made The Migration Series, and worked on it from 1940 to 1941. 

His parents divorced when he was 7 years old, and he and his siblings were put into foster care. When he was 13 years old, they went to New York City to live with their mother in Harlem. He discovered art when his mom put him in classes after school. He often drew with crayons when he was young. He fell behind in school at 16, and had to start working at a laundromat and a printing plant. 

Harlem Community Art Center, 1938.

He started taking classes at the Harlem Art Workshop. He was taught by Charles Alston, who suggested he join the Harlem Community Art Center. He eventually joined, and his teacher was Augusta Savage. She got him a scholarship at the American Artists School, and also got him a position at the Works Progress Administration. 

Charles Alston and Augusta Savage.

In 1941, on July 24, he married Gwendolyn Knight, a student in his class whom he liked. They were married the same year he finished The Migration Series. She helped Jacob with his paintings and with writing the captions for them. Gwendolyn Knight painted during her life but didn’t have her first solo exhibition until 1970.

Jacob Lawrence and Gwendolyn Knight.

The Migration Series was inspired by what was happening in America for Blacks during that time. The Great Migration is very important in Black history. There were racist White people who would bomb and burn homes where Blacks lived, and if they moved somewhere else, they’d follow them and do the same thing again. Not only that, but they wouldn’t be able to live in good homes with fair prices. Instead, they had to live in bad or unsafe homes with unfair prices. During WWI, most jobs that white immigrants would be doing, Black men were doing those jobs and making more money, and that didn't make white men happy. This is one of the causes of the bombings and burnings. 

Waiting for a northbound train in Jacksonville, Florida, 1921

Many Black people stayed in the South because moving could be difficult and expensive. But the 6 million Black people who decided to leave showed that sometimes if you’ve had enough, you don’t have to stay where you are. You can leave to find a better job and make a better life.

This led to the Black community in the North increasing between the 54 years of the Great Migration, making a big change in the North’s Black population. It was good for the people migrating, but for the people in the North, it was a bit worrying. Some white people in the North were worried about Blacks competing for jobs and places to live, which caused Black people to face problems similar to what they had faced in the South.

The Migration Series, Panel no. 1, Casein tempera on hardboard, 1940-41

I like painting The Migration Series, Panel no. 1 - During World War I there was a great migration north by southern African Americans. I like it because it not only gives a simple explanation of The Great Migration, but also says that it started during World War I which gives me a specific time to the beginning of the migration.

The Migration Series, Panel no. 4, Casein tempera on hardboard, 1940-41

I like The Migration Series, Panel no. 4 - All other sources of labor having been exhausted, the migrants were the last resource. I like its use of colors. The nail in the painting is both dark blue and black, making it look a bit 3D.

The Migration Series, Panel no. 37, Casein tempera on hardboard, 1940-41

I like The Migration Series, Panel no. 37 - Many migrants found work in the steel industry. I like it because it gives an example of a job you could have in the North, like working in the steel mill. It uses the good color combination of blue and yellow to represent molten steel.

The Migration Series, Panel no. 60, Casein tempera on hardboard, 1940-41

Lastly, I like The Migration Series, Panel no. 60 - And the migrants kept coming. I like it because while it gives an end to Jacob Lawrence’s story of The Great Migration, it isn’t the end, because the migrants kept coming. 

Fin.

[umusetxsu]

Augusta Savage - Women in Art

During the 1930s, Augusta was well known in Harlem as a sculptor, art teacher, and community art program director. Born in Florida, on February 29, 1892, she was the seventh of fourteen children of Cornelia and Edward Fells. Her father was a poor Methodist minister who strongly opposed his daughter’s early interest in art. My father licked me four or five times a week,” Savage once recalled, “and almost whipped all the art out of me.

In 1919 a local potter gave her some clay from which she modeled a group of figures that she entered in the West Palm Beach County Fair. Her work was awarded a special prize and a ribbon of honor. Encouraged this success, she hoped to support herself by sculpting portrait busts of prominent blacks in the Florida community. When that did not materialize, she moved to New York.

In New York, Savage enrolled at the Cooper Union School of Art where she completed the four-year course in three years. During the mid-1920s when the Harlem Renaissance was at its peak, she lived and worked in a small studio apartment where she earned a reputation as a portrait sculptor, completing busts of prominent personalities such as W. E. B. Du Bois and Marcus Garvey. Her best-known work of the 1920s was Gamin, an informal bust portrait of her nephew, for which she was awarded a Julius Rosenwald Fellowship to study in Paris in 1929. In 1931 Savage won a second Rosenwald fellowship, which permitted her to remain in Paris for an additional year. She also received a Carnegie Foundation grant for eight months of travel in France, Belgium, and Germany.

Following her return to New York in 1932, Savage established the Savage Studio of Arts and Crafts and became an influential teacher in Harlem. In 1937, she was appointed the first director of the Harlem Community Art Center and was commissioned by the New York World’s Fair of 1939 to create a sculpture symbolizing the musical contributions of African Americans. Inspired by the lyrics of James Weldon Johnson’s poem Lift Every Voice and Sing, "The Harp" was Savage’s largest work and her last major commission. She spent almost two years completing the sixteen-foot sculpture. The Harp was exhibited in the court of the Contemporary Arts building where it received much acclaim. The sculpture depicted a group of twelve stylized black singers in graduated heights that symbolized the strings of the harp. No funds were available to cast The Harp, nor were there any facilities to store it. After the fair closed it was demolished as was all the art.

The Harlem Community Art Center closed during World War II when federal funds were cut off so, in 1939 Savage made an attempt to reestablish an art center in Harlem by opening of the Salon of Contemporary Negro Art. She was founder-director of the small gallery that was the first of its kind in Harlem. That venture closed shortly after its opening due to lack of money.

Savage was the first African American to be elected to the National Association of Women Painters and Sculptors. She believed that teaching others was far more important than creating art herself, and explained her motivation in an interview: “If I can inspire one of these youngsters to develop the talent I know they possess, then my monument will be in their work. No one could ask for more than that.”

[yukioji]

Study of AUGUSTA SAVAGE's "The Harp" sculpture (1939)

Thanks to Dr. Keisha N. Blain for the introduction to this strong woman of Harlem Renaissance. Fell in love with her work, and sculptures. You can read her article here ! She also shared this on twitter, I’m pumped!

[shravanya]

Okay, so this is history. My first ever movie of yours.

Sravani di is the only person cuz of whom I could have watched it. So all my love goes to her first, for giving me a unique experience. The movie has been a roller-coaster ride where I experienced a lot of emotions, which might not be related to the exact meaning of the lyrics, but then we have the freedom to interpret it in any which way we want to! That's the beauty of your songs, and you give us that freedom! I cried a lot in the first half of the movie bcz most of the songs sung in the first half are my favourite.

To begin with The 1 is a song which tbh didn't stir any emotion, it just began and ended.

Next up was Cardigan, and I suddenly sat serious, concentrating on the melody and I increased the volume and got emotional with tears rolling down, and proud because it's the first song you released and the videography, lyrics and everything about is just so perfect! Leaving like a father for me is literal, and I love the entire Verse 3 the most - But I knew you'd linger like a tattoo kiss... I mean I could play this verse just forever.

Illicit Affairs gave me goosebumps! Your high notes for certain words at the end of each line sounds extremely melodious and renders bliss!

I cried when August played. It's one of my favourites and is also my birthday month so I sort of feel special whenever I listen to it. You told about naming the girl Augusta or Augustin and I wish you did! All the while I had the exact opposite perception about the storyline until you spoke that she's the one James cheats on Betty with. The bridge, oh my god. Again that gives me chills! I can play just the bridge on loop forever! You were so happy while singing it, and when I got to know you composed it I was like there goes my Taylor!

Seven is the song in which I cried inconsolably, not just because of the melody, but the lyrics. I identify myself as the girl with the braided hair, rough childhood, and a mad dad. I also relate with Please picture me in the weeds before I learn civility which implies that I don't want to live in a city where there's rat race. You mention my country India and that also makes this song special. Also I remember you saying how children create nuisance while at store, "throw cereal at my mom" made me laugh so bad.

Okay now here comes my favourite Mirrorball! It's my all time favourite and I relate to the lyrics in a completely different way. I shed tears when you talked about how we all are sort of hypocrites and behave in different ways in front of different people. I was told once that it's like I wear a mask, and it broke me, to think of myself as double faced. But you negated that and now I feel myself. So I read the lyrics of the song before it became the 'song on repeat' and I could identify myself as the girl who's ready to do anything to make the love of her life notice her. I again absolutely fell for the bridge, that's something I sing with intense emotions.

This Is Me Trying is a song where you talk about mental health, and it made me super proud, being a psychology student.

Invisible Strings - I love it. I just fkn love it! I mean this is the only song which is the most positive of all, both by melody and lyrics! And whenever it's played, I feel overly cheerful! The strings render an innocent feeling in the bosom, and the lyrics are super cute! I love every single line, and the waitress line is so funny! And you mention the colour Teal, which is again my favourite!

In The Last Great American Dynasty, you told about how country music begins by telling a story and the central character turns out to be the singer himself/herself! That's an interesting fact! You said that you wanted this song to fit in some album that's relevant to telling stories, and that's such a carefully devised plan! I was just imagining how excited you would have felt when you would have figured that the album is folklore!

While singing Mad Woman, the way you said - fuck you, I totally felt you, and could empathise when you explained about the prevalent male mistreatment. You were just so savage there! I have always respected you for speaking up against Patriarchy, you go Taylor!

My Tears Ricochet is again a powerful and bold song, and I love how it sort of brings out the woman in me! It too feels like a Feminist song, and the ooh ooh part gives me creeps! It sounds ghostly tbh, and it's like sort of a revengeful song so it totally emits those vibes!

You made an entire song - Epiphany - for your grandpa, and that just makes me hug you! They usually compose songs about lovers, friends, family which mainly consists of parents and siblings, but you focused on your grandpa, that itself brought tears to my eyes and then you also said that it's not just about him but also the doctors with shifts, etc. It's the only song that sort of makes me feel it's the closest to describe the covid situation.

When you asserted that James in Betty is a fool, no he's a fool, I laughed. Betty is a name that I find relatable cuz back when I used to read Archie comics in childhood, Betty was my favourite.

Peace and Hoax again are not the songs I would listen to, but I noticed you cutely you said that you just like the word with the 'x'

My god, what can I say about Exile. Taylor, do you know you made me fkn cry with the ending - Aa Aa, which isn't there in the original song of the album. Tbh, it wouldn't have been on my Playlist if Sravani di wouldn't have told me that it's her favourite. My god, I even pinned a post about it on Twitter and Tumblr! That few seconds part has been on loop since days, and makes me cry and sink in. It's the only song that I prefer listening to than the original, from the Long Pond Studio album.

The Lakes, oh my god Taylor. You just went so poetic there! I mean it legit sounded like a song made in the 18th century! I have always loved the British Victorian era and stuff, and that song exactly delivers that feeling! It's been on repeat since I heard it in the movie. And it's sounds like the last puzzle piece or something and it's so explicitly mysterious, and you talking about running away so casually, that gave me chills tbh. Whatever you do, wherever you wanna run away to, just don't stop being a queen and never leave us.

P.S.- Thank you for being my unofficial therapist Taylor, I love you.

[abwwia]

The career of Augusta Savage was fostered by the climate of the Harlem Renaissance. During the 1930s, she was well known in Harlem as a sculptor, art teacher, and community art program director. Born Augusta Christine Fells in Green Cove Springs, Florida, on February 29, 1892, she was the seventh of fourteen children of Cornelia and Edward Fells. Her father was a poor Methodist minister who strongly opposed his daughter's early interest in art. My father licked me four or five times a week," Savage once recalled, "and almost whipped all the art out of me."

Augusta Savage (#bornonthisday February 29, 1892 – March 27, 1962) was an American sculptor associated with the #HarlemRenaissance. She was also a teacher whose studio was important to the careers of a generation of artists who would become nationally known. She worked for equal rights for #AfricanAmericans in the arts. Via Wikipedia

1. Courtesy Federal Art Project, Photographic Division collection, 1935-1942. Archives of American Art, Smithsonian Institution.

2. Augusta Savage, Gamin, ca. 1929, painted plaster, 9 x 5 3⁄4 x 4 3⁄8 in. (22.9 x 14.7 x 11.2 cm.), Smithsonian American Art Museum, Gift of Benjamin and Olya Margolin, 1988.57

Augusta Savage's young nephew Ellis Ford modeled for this sculpture in 1929 while he and his family were living with her in Harlem, taking refuge there after losing their home in Florida in a hurricane. Ellis is shown with the soft cap commonly worn by newspaper boys and other working youth. Inscribed on the base is the French word gamin, a term that refers to streetwise children. This composition was widely considered to be Savage's most successful sculpture. It was so popular that the artist produced a life-sized bronze as well as numerous plaster casts like the one shown here, which she painted to look like bronze. Via Smithsonian

3. Augusta Savage in her studio working on her 1939 New York World’s Fair monument “Lift Every Voice and Sing.”

Must Read: pbs.org/wnet/americanmasters/searching-for-augusta-savage/31521/ Searching for Augusta Savage (2024)

#AugustaSavage #Gamin #artherstory #artbywomen #womensart #palianshow #art #womenartists #femaleartist #artist #botd

[mdsc951]

'Augusta Fells Savage's' early attempts at sculpting were met with destruction due to her father’s belief that it was a sinful thing to do. But she persevered and, in the 1930s, she went on to become the first African American woman to open her own art gallery and founded an art school in Harlem for anyone who wanted to paint, draw, or sculpture. (at DuSable Museum of African American History) https://www.instagram.com/p/CeBmvFULfzm/?igshid=NGJjMDIxMWI=

[anisioluiz]

What happened to reading in Baltimore public schools?  — TALK & OPINIONS BY SILVIO CANTO JR.

What happened to reading in Baltimore public schools?  — TALK & OPINIONS BY SILVIO CANTO JR.

(My new American Thinker post) Is Baltimore a failed city?  What do you call a city where kids graduate without minimum reading skills? This is from Baltimore: An alarming discovery coming out of a Baltimore City High School caught up in a scandal. Project Baltimore has obtained student assessment data from Augusta Fells Savage in west Baltimore, […]What happened to reading in Baltimore public…

[lboogie1906]

Augusta Savage (born Augusta Christine Fells; February 29, 1892 – March 27, 1962) was an African-American sculptor associated with the Harlem Renaissance. She was a teacher whose studio was important to the careers of a generation of artists who would become nationally known. She worked for equal rights for African Americans in the arts. She began making figures as a child, mostly small animals out of the natural red clay of her hometown, Green Cove Springs Florida. Her father was a poor Methodist minister who strongly opposed his daughter’s early interest in art. This was because, at that time, he believed her sculpture to be a sinful practice, based upon his interpretation of the "graven images" portion of the Bible. She persevered, and the principal of her new high school in West Palm Beach, where her family relocated, encouraged her talent and allowed her to teach a clay modeling class. This began a lifelong commitment to teaching as well as creating art. #africanhistory365 #africanexcellence https://www.instagram.com/p/CahbG6crWEn56CmIajgTE8ZkxRxoKVtqZyAfCU0/?utm_medium=tumblr

[eriinn]

Augusta Savage

1892 — GREEN COVE SPRINGS, ÉTATS-UNIS | 1962 — NEW YORK, ÉTATS-UNIS

Déterminée à devenir sculptrice, Augusta Christine Fells arrive à New York en 1921 avec 5 dollars en poche. En plus de son travail de gouvernante, elle accomplit le cursus artistique de la Cooper Union en seulement trois ans. La bibliothèque publique de New York lui commande un portrait du penseur William Edward Burghardt Du Bois, début d’une série sur les personnalités afro-américaines, comme le nationaliste Marcus Garvey. Ces rencontres marquent profondément l’artiste, qui devient une activiste redoutable. Son premier fait d’armes date de 1923 : exclue d’un programme d’études en France du fait de sa couleur, elle attaque le comité d’admission, devenant la première Afro-Américaine à défier le monde de l’art. Malgré les difficultés sociales et économiques, elle ne cesse de sculpter, notamment des portraits en argile comme Gamin (1930), son œuvre la plus célèbre, représentant un garçon des rues de Harlem, qui révèle la beauté afro-américaine, jusque-là réduite à de racistes caricatures. Le succès est tel qu’elle remporte une bourse de la fondation Rosenwald, lui permettant enfin d’aller à Paris, où elle étudie à l’Académie de la Grande Chaumière avec le sculpteur Félix Benneteau-Desgrois.

 Augusta Savage working on a piece in her Harlem studio, New York, NY, 1938.