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Celebrating Black History in Art: Harriet Powers (1837-1911)

Harriet Powers' Bible Quilt, 1886

Harriet Powers, known as the “mother of African-American quilting”, was born into slavery in Athens, Georgia in 1837. Because there is no record of her childhood, it is assumed she grew up as a house slave, trained to be a seamstress and instructed in the craft of appliqué quilt-making.

Powers’ acclaimed cotton quilts are comprised of storytelling and extensive documentation with the use of appliqué. The quilts consist of several pictorial squares depicting local history, biblical stories and celestial phenomena.  Powers’ use of technique and design trued back to African and new world African American influences.

Harriet Powers

There are only two of Powers’ quilts, both made after the Civil War, which survive today. One of Powers’ quilts, the “Bible Quilt”, is an appliquéd quilt comprised of eleven panels based on stories in the Bible. The “Bible Quilt” was first exhibited in 1886 at the Clarke County Cotton Fair in Athens, Georgia. There, a southern, white art teacher by the name of Jennie Smith offered to purchase the quilt. Originally, Powers declined to sell it.  Persistent to purchase the quilt, Smith remained in constant communication with Powers. Five years later, Powers found herself in financial trouble and agreed to sell the quilt to Smith for five dollars.  At the time of the sale, Powers provided Smith a detailed description of the imagery on the quilt. Smith preserved the quilt and the information, and both now reside at the Smithsonian in Washington, D.C.

The second quilt, commonly called the “Pictorial Quilt”, was believed to have been commissioned after the Bible Quilt.  The “Pictorial Quilt”, comprised of fifteen panels, consisting of a mixture of Biblical stories with celestial and other events.  This quilt was purchased in 1898, by Pastor, Dr. Charles Cuthbert Hall, who dedicated his life to educating fellow African Americans.  Dr. Hall kept and cherished the quilt as did his family after his death.  Today, the “Pictorial Quilt” resides at the Museum of Fine Arts in Boston, Massachusetts.

Harriet Powers' Pictorial Quilt, 1898

Harriet Powers died on January 1, 1910, in Athens. Not much else was known about Powers’ daily life or the number of quilts she made during her lifetime. But, each panel preserved from her quilt-making career became priceless spiritual works of art.  They have been credited as being the finest examples of nineteenth-century Southern quilting and considered masterworks of American folk art.

Clarke Art Consulting encourages you to visit the Smithsonian Museum, in Washington D.C. and the Museum of Fine Arts in Boston, Massachusetts to experience these extraordinary quilts first hand. We want you to cherish, relate and live art history made by African Americans.

Published by Clarke Art Consulting © 2010

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Celebrating Black History in Art: James VanDerZee (1886-1983)

Couple with a Cadillac, 1932, by James Van Der Zee

James VanDerZee was an acclaimed, largely self-taught, African American photographer who documented the lives of the urban middle class. Born June 29, 1886 in Lenox, Massachusetts, VanDerZee was raised to appreciate music and art; eventually forming a talent for photography. By fifth grade, VanDerZee was given his first camera. He took hundreds of pictures of his family and friends, and developed them himself. In 1906, at age 20, he moved to Harlem, New York where he played in the Fletcher Henderson’s band and the John Wanamaker Orchestra. But, to keep a steady income, VanDerZee returned to his childhood talent—photography.

Self-Portrait, c. 1920, by James Van Der Zee

In 1914, he signed on as a darkroom technician in a department store. He would fill in behind the camera at times, learning the fundamentals of photography. By 1916 (when Harlem was the haven for African Americans), VanDerZee opened his own studio called “Guarantee Photo”. He photographed celebrities such as heavyweight champion Jack Johnson and entertainer Bill “Bojangles” Robinson. His photographs also consisted of African American clubs, lodges, sport teams, weddings, funerals and portraits of people simply wanting a picture of themselves “dressed to the nines”. VanDerZee aimed to perfect his subjects through styled wardrobes, customized settings and retouching negatives. “I tried to see that every picture was better-looking than the person. That was my style,” said VanDerZee.

Barefoot Prophet, 1929, by James Van Der Zee

In 1932, his studio struggled through The Great Depression which forced him out of photography for over 30 years. In 1968, VanDerZee was rediscovered when Reginald McGhee, a photo researcher, stumbled upon his collection of over 75,000 photographs covering six decades of African American urban life. The Metropolitan Museum of Art in New York featured the photographs in an exhibition called “Harlem on My Mind”. The exhibition brought VanDerZee renewed attention and national recognition. In the 1980’s, many years after the Harlem Renaissance, celebrities such as Bill Cosby, Lou Rawls, and Muhammad Ali, commissioned VanDerZee to photograph them.

VanDerZee’s career of photography lasted until his death in 1983 at the age of 96. James VanDerZee left behind a historical record of the pride and beauty of African Americans in Harlem.

Published by Clarke Art Consulting © 2010

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Celebrating Black History in Art: Edmonia Lewis (1845-1911)

The Death of Cleopatra by Edmonia Lewis

Edmonia Lewis was the first African American and American Indian female sculptor to achieve national recognition from the mainstream art world during an era when minorities and women faced strong prejudices. Lewis’ birthplace is unknown. Her father was a free black man from the West Indies and her mother was a Chippewa Indian. Lewis celebrated her racial identity through her art.

Lewis’ choice of subject matter was African American and American Indian abolitionist heroes and local luminaries. In 1864, Lewis sculpted a bust of Robert Gould Shaw (the colonel who led an all-black regiment to the battle of Fort Wagner during the Civil War) which was widely celebrated and sold 100 plaster copies of the bust. She used the income from the sales and embarked on her dream to study sculpting in Italy.

By 1873, Lewis became the first internationally renowned female sculptor to exhibit in San Francisco and San Jose, where she showcased a bust of President Abraham Lincoln, later purchased by the Friends of San Jose Library where it remains to this day.

Edmonia Lewis

In 1874, Lewis returned to Italy where achieved her greatest triumph, her masterwork—The Death of Cleopatra. The Death of Cleopatra was a portrayal of Cleopatra after she is bitten by her asp. The work never sold because of its portrayal of Cleopatra at weakest moment—an absolute contrast to the atypical portrayals of her strength and beauty. The work was exhibited in the Philadelphia Exposition in 1876 and the Chicago Interstate Exposition in 1878. Over the years, the piece was somehow lost, and later turned up on a grave marker for a racehorse named Cleopatra in 1988. In 1995, the work was finally restored and placed in the Smithsonian National Museum of American Art.

Where and when Edmonia Lewis died is unknown, but her triumphs has inspired generations of minority artists. Lewis broke racial barriers and achieved fame in an era when most Americans claimed Negroes lacked the capacity for intelligence and fine art. A quote from Lewis to Lydia Maria Child (an American abolitionist and women’s rights activist) states “Some praise me because I am a colored girl, and I don’t want that kind of praise. I had rather you would point out my defects, for that will teach me something.”

Clarke Art Consulting encourages you to view the acclaimed sculpture, The Death of Cleopatra, at the Smithsonian Museum in Washington D.C.

Published by Clarke Art Consulting © 2010

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Celebrating Black History in Art: Joshua Johnson

The Westwood Children (c. 1807) by Portraitist, Joshua Johnson

Joshua Johnson (c. 1765-1830) is the earliest documented African American professional painter. Little is known about Johnson’s early life, but that he was born in Baltimore, Maryland, a slave, and later freed in 1796 at the age 19. Johnson remained in Baltimore where he painted portraits of prosperous, white American mercantilists and their family. His painting style was considered conservative—a straightforward painting technique using sharp value contrasts of light and dark colors and stilted poses. Johnston’s style was very similar to American painter, Charles Peale Polk (1767-1822). It is speculated Johnson may have been a slave of the Peale family; a family of collectors and painters.

Today there are 80 paintings signed by Joshua Johnson, or attributed to him, dating between 1803 and 1814. Johnson has been recognized as painting the most portraits of children during this period in Baltimore. Ironically, out of all of Johnson’s works, only two portraits featured  African Americans who belonged to the elitist mulatto class.

Visit The National Gallery of Art in Washington, D.C. to view Joshua Johnson’s works.

Published by Clarke Art Consulting © 2010

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Artist Interview: Jean Gonzalez

Jean Gonzalez uses many types of materials in her handmade quilt. The various colors and contrast generate a fascinating contemporary work of art.


There are endless forms of expression in contemporary art. An old tradition of hand sewing has emerged in the art world as textile art. Historically, this art form was used to record family history through quilts and other textile works. One of the most well-known textile art works is “Stars and Strips flag,” created by Betsy Ross. In an effort to expand understanding and awareness to this art form, Clarke Art Consulting recently interviewed textile artist Jean Gonzalez.

Gonzalez loves her craft. She embraces the reward of time put into making quilts.

For 40 years, Jean Gonzalez has used her sewing needle to transform yarn, beads, fabric scraps and worn garments into amazing works of art. Gonzalez is a native of New York, known for her elaborate stoles and abstract beaded wall hangings. With each piece of work, Gonzalez creates tangible, tactile family stories and messages of peace. Gonzalez currently works out of her studio in Richmond, Virginia, where she works on commissioned stoles, blankets, pillows, and wall hangings.

Can you tell us a little bit about your background, and what led you to become a textile artist?

I started out doing family mending, clothing repairs for family members. No one remembers exactly how old I was, but I think I was about ten. I took a sewing class at age twelve and hated the machine and finished with needle and thread. Then I did more family mending.

I was part of the “Back to The Land” movement in California in the 1970’s. I found altar clothes and damage woven blankets and tried to use them to make things. In the beginning I made caftans and goddess dresses. I gave them away.

In 1999 I started a business offering clothing repair. Those clients brought old quilts. I had a specialty of repairing vintage textiles. I am not a quilter at all. I make some things that look like traditional quilts but my focus is on fabric remnants and scraps, more than the quilt. Continue reading →

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Today in Art: Books That Demystify 21st Century Art

How To Survive Modern ArtMargaret Studer reports in The Wall Street Journal three books that will help you better understand modern art, contemporary art photography, and art terms.

1.) “How to Survive Modern Art” (Tate Publishing, [pound] 12.99) by Susie Hodge. This book is a guide to understanding art in the modern world. Hodge gives tips on how to look at art, and traces art movements from the turn of the 20th century to today’s Internet creations.

2.) “The Photograph as Contemporary Art” (Thames & Hudson 2009, [pound] 9.95) by Charlotte Cotton. Cotton brings the story of contemporary photography up to date, explaining how photography emerged as an art form.

3.) “The Tate Guide to Modern Art Terms” (Tate Publishing, [pound] 8.99) by Simon Wilson and Jessica Lack. This book is an alphabetically ordered guide that demystifies art terms and movements, helping you to understand terminology used in professional art circles.

Read more at The Wall Street Journal.

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Conserving Your Art


When you purchase fine art you are making an investment that should last for a lifetime. To ensure that your investment will withstand the test to time, you must take the necessary step of practicing conservation. Here are some easy ways to preserve your art.

Limit Exposure to Light
Believe it or not, art exposed to direct light can cause fading and discoloration. Artwork on paper, prints, photographs and watercolors are especially sensitive to excessive light.
• Practice closing your curtains for short periods of time during the morning to limit sunlight exposure to your art. If you plan a long vacation, turn hanging art against the wall for better protection.
• Purchase UV-filter Plexiglas to frame works on paper.
• Spotlights or clip-on lights pointed directly on art for a long period of time can create heat spots on the work. A heat spot will dry out canvas and cause cracking on oil paintings. Try using a low watt halogen light which is the least harmful to art.

Create Climate Control
You don’t need museum-quality climate control at home if you follow these tips:
• Keep a constant temperature in your home. Don’t create sudden changes to the climate by dialing your thermostat to extreme temperatures.
• Don’t hang art directly over heat, such as fireplaces or heaters.
• Avoid storing art in basements or attics, these places can either be too moist or too hot. Instead, store art in a closet or armoire.

Do Not Put Art in Harm’s Way
The number one culprit of art damage is when art is jostled.
• Do not display art, particularly sculptures, in narrow hallways or high traffic areas where it could potentially be bumped or knocked over.
• Consider placing small sculptures in glass cases for protection and security.

Invest in Proper Framing
Framing art is not only a beautiful presentation, but a simple way to protect it.
• Choose professional framing services. If you don’t have the budget for professional framing, purchase archival-quality framing materials from your local art supply store. This option is less expensive and easy enough to do yourself.
• Use acid-free materials and UV-protective glass to frame works on paper. This will keep it from degrading or fading.

Handle with Care
Art is often damaged in transit. If you plan to move your art, consider these options for protecting your investment.
• Use bubble wrap or insulating packing materials to package art.
• Hire professional movers with experience in handling fine art.
• Make sure you have insurance to cover the value of the work in case of any damage, theft or natural calamities.

For more information on art conservation contact your local art supplies store, museum conservation department, or art insurer.

Published by Clarke Art Consulting © 2010

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Today in Art: Art in the Last Decade


Holland Cotter of The New York Times reports the art world saw more art in more varieties than ever before in the last decade. From new contemporary art in China, to a growing appreciation for multiculturalism in the American art market; the art scene was flooded with new concepts in art and new exhibitions to promote them. Unfortunately, art was somewhat overshadowed by the terror of 9/11, two wars, episodes of corporate greed, a shaky economy, and the election of an African-American president. Cotter states “In short, life passed art by. Maybe in the new decade they’ll meet.”

Highlights in art in the last decade:

• In the late 1990s, America experienced multiculturalism and globalism, bringing African-American, Latino, and Asia-American art to the forefront of the art scene in New York.

• In the 2000s, art reflected the realities of life, including the good and the bad. Art content was political and self-consciously ethnic in reference.

• The terror attacks of 9/11 brought art enthusiasts closer to the Islamic culture. In 2008 the museum of Islam art opened in Qatar.

• The contemporary art scene grew in China and India.

• Damien Hirst acclaimed art show at the Met.

• More and more art fairs emerged.

• New art forms from Africa were introduced. An historical exhibition on the subject of African modernism titled “The Short Century: Independence and Liberation Movements in Africa, 1945-1994,” opened in Europe and traveled to New York. It was one of the most important shows of the decade.

• The Museum of Fine Arts in Houston presented an exhibition titled “Inverted Utopias: Avant-Garde Art in Latin America,” which illuminated Latin American modernism. The exhibition was a historical survey breaking stereotypes of Latin-American art.

• Archeological looting and the repatriation of art held at major American museums made news. The question of who really owns what was raised and caused museums to review their policies.

• The beginning of the Digital Age – Art institutions began to use digital technology to communicate to their audience. Artists used digital technology as supplements to photography, video and painting.

Read more at The New York Times.

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Artist Interview: Carl Wright

Motion and Eihei by Carl Wright

Motion and Eihei by Carl Wright

Clarke Art Consulting had the pleasure of interviewing sculptor Carl Wright. Wright creates abstract sculptures to evoke emotion and everlasting beauty. His work can be seen in corporate buildings in North Carolina, and private collections in Switzerland, Orlando, Washington, D.C. and Virginia.

Can you tell us a little bit about your background, and what led you to become a sculptor?

I have been a self-employed, full-time artist for 21 years. Before becoming an artist, I had worked in various jobs which led up to running $100k dollar jobs for a Defense sub-contractor. Working as a Defense sub-contractor caused me to focus on what was important to me—projects of shorter duration [12 weeks or less] and working on projects that truly communicated a palpable message visually, not by scrambling signals to avoid detection [Defense Work]. I wanted to be able to talk about my work and how proud I was of it, and finally realizing that, I had reached the pinnacle of what interested me in Defense work— the translation would be ‘is this all there is to work?’

Before evolving to sculpture, I had been a stained glass artist. With stained glass I liked the vibrant colors but disliked the perpetually cut fingers [ from sharp glass edges]. I didn’t like the need to go to craft festivals to sell work, and how price-driven the medium was. While working as a stained glass artist it occurred to me that I enjoyed dealing with space and how objects occupy that space. This led me to designing and building studio art furniture and quickly thereafter to sculpture.

What is your medium of choice and why?

Stone is my medium of choice. I enjoy the solidity of the stone, the primal nature of stone (re: Stonehenge), its ability to withstand eons of weather and abuse, and still stand. I also enjoy the warm sensual nature of stone. For marketing purposes, I wanted a durable long lasting medium that has an august presence, a decent market to sell, and not engaged in by a lot of artists. For practical reasons, I wanted a medium that could be placed inside or outside, did not have major maintenance issues ( such as steel, plaster, & wood), was not brittle like ceramics, and could not be easily stolen for scrap (such as bronze, steel, aluminum). Continue reading →

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Artist Interview: Stanley Rayfield

Portrait titled Dad by Stanley Rayfield, oil on canvas, 2nd place in competition at National Gallery in Washington

Portrait titled Dad by Stanley Rayfield, oil on canvas, 2nd place in competition at National Gallery in Washington


Clarke Art Consulting was delighted to interview emerging artist Stanley Rayfield. Rayfield has launched a great start to his art career with his painting titled, “Dad”, which won second place in competition at the National Portrait Gallery in Washington. Rayfield is a recent graduate of Virginia Commonwealth University School of Arts, and currently works on several commissioned art projects. He aspires to become a world-renowned portraitist, making history with his art.

Can you tell us a little bit about your background, and what led you to become an artist?
Well, I am a New Orleans native, but I grew up in Richmond, Virginia. My path to becoming an artist began with me just doodling in class and making up badly drawn cartoon caricatures. I did not take art seriously until high school. There, I was enrolled in a specialized art program at Henrico High School (in Richmond, Virginia) called Center for the Arts (CFA). CFA gave me a jump start in the arts compared to other young artists my age. This program was designed to prepare students for art school [college art programs]. CFA changed my life and inspired me to take art as a career path. So I continued my art education at VCU (Virginia Commonwealth University) in the Communication Arts department. Continue reading →

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