HFAS Magazine Spring 2013

THe HARLeM

FINe ARTS SHOW M A G A Z I N e

ART AND CONVERSATION

The Studio Museum’sThelma Golden

MAGIC, MEMORY AND VOICE

Art Galleries that Speak to Us

MOTOWN’SMONUMENTAL

MEANINGDetroit, Harlem

and the World Stage

PERCY ELLIS SUTTONHarlem’s Renaissance

Man Remembered

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HFASMHARLEM FINE ARTS SHOW

Magazine

JWD ENTERPRISES, INCpublisher Dion Clarke

assistant to publisherPorcia Gardner

Chief finanCial offiCer John Roberts

direCtor of sales and marketing

Dion ClarkeaCCount exeCutives

Keri ClarkeLenette BerkleyLindsay Michael

publiC relations Finn Partners

digital media/WebsiteGo Getter Marketing Group

EDITORIALeditor-in-Chief

Khephra Burns

WritersJenna BondHerb Boyd

Khephra Burns Michael Eric Dyson

Liv Wright

ART AND PRODUCTIONCreative direCtion

LaVon Leak [email protected]

art direCtion/produCtionSandra Lawrence

photo editorAdreinne Waheed

WEBSITEwww.hfas.org

BROWN PRINTING COMPANY Publishers since 1949New York, New York

© 2013 by JWD Enterprises, Inc.

All rights reserved. No part of the material protected by this copyright notice may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, pho-tocopying, recording or otherwise without prior written permission, except in the case of brief quotations embodied in critical articles and reviews. Queries should be addressed to JWD Enterprises, Inc, P.O. Box 232, Purchase New York, NY 10577.

Second EditionPrinted in the United States of America

Contents

COVER - Sculptor Woodrow Nash. Woodrow nash, Taumangoluka. Clay fired to stoneware consistency, 37’’ x 22’’ x 11’’. The image is of a male warrior from the fictional African country Opar, one of the lost colonies of Atlantis. Mr. Nash’s work evokes the nobility of the human form as it is adorned in African cultures to shape their presentation of self to the world.

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PUBLISHER’S PAGE pg 1The 2013 Harlem Fine Arts Show paystribute to former Manhattan Borough President, the late Percy E. Sutton.

HFAS GALA pg 3From Harlem to Martha’s Vineyard,fine art inspires and nourishes.

MAGIC, MEMORY AND VOICE pg 9 At spirited galleries the walls talk, evoking magic in the mundane, awein the power of collective memory.

THE ARTIST, THE STORYTELLER pg 10Artists Brenda Joysmith, WoodrowNash and Leroy Campbell capturemoments in a compelling story.

PERCY ELLIS SUTTON pg 12A revitalized Harlem bears theunmistakable imprint of the Chairman.

THELMA GOLDEN INTERVIEW pg 17Director and chief curator of the Studio Museum in Harlem on art as a conversation.

MOTOWN’S MEANING pg 22 In the 1960’s Detroit woos Harlem atthe legendary Apollo Theater, and the“Sound of Young America”ˮis born.

HARLEM HOTSPOTS pg 24Where art and the art of living wellmeet, there’s food for body and soul,and favored haunts for fine spirits.

l The fourth annual Harlem Fine Arts Show held forth at the historic Riverside Church, home to the expo for the past three years. And what better place to celebrate the rich diversity of this artistic expression, which nurtured the Harlem Renaissance of the 1920’s. Today, in this second decade of the 21st century, a new movement in Harlem is making its own mark on history with a resurgence of native talent and creativity that is emblematic of the ascendance and growing recognition of artists of African descent nationally and internationally. This year at our opening night gala reception, Harlem Fine Arts Show 2013 honored the late Percy Sutton for his influence and seminal contributions to the revitalization of Harlem and the arts in particular. A distinguished civic leader, lawmaker and entrepreneur, Mr. Sutton was also an avid collector and patron of the arts. Four decades ago he supported the founding of the Studio Museum in Harlem, the first fine arts museum in the nation devoted to African American art. His spirit per-vaded the proceedings as we saluted Charlotte Sutton, Pierre Sutton, Keisha Sutton-James and the entire Sutton family for their continuing and tireless commitment to the arts. Launched in February 2010, the Harlem Fine Arts Show (HFAS) has attracted more than 10,000 visitors each year. This season’s four-day event included the featured art exposition and charity gala as well as literary programs and book sign-ings coordinated by Harlem’s Hue-Man book store. Among the more than eighty artists and galleries that partic-ipated are some of the most prominent contemporary painters and sculptors from throughout the U.S., the Caribbean and Africa, including Michael Escoffery, Leroy Campbell, James Denmark, Frank Frazier, Woodrow Nash and others who were on hand to meet and talk with collectors and art enthusiasts about their work. Off-Broadway producer Vy Higginsen’s Mama Founda-tion for the Arts was a big beneficiary of proceeds from the opening night reception. The foundation is internationally

harlem fine arts shoW magaZine PAGE 01

The fourth annual Harlem Fine Arts Show drew thousands to view works by artists from throughout the African Diaspora and a performance by the Broadway cast of Motown: The Musical

Top: HFAS founder Dion Clarke. Bottom: NY NAACP President Hazel Dukes, Dr. Roscoe Brown, TGF president Toni Fay and Keisha Sutton-James, granddaughter of Percy Sutton.

the spirit of one man

PUBLISHER’S PAGE

Best Always,

Dion Clarke Founder, Harlem Fine Arts Show

acclaimed for its contributions to rebuilding Harlem as an artistic and cultural center. Among its theatrical productions, the musical Mama, I Want to Sing is the longest-running Off-Broadway show in African American theater. In the tradition of great black musical theatre and as a special opening night attraction, HFAS also presented a live performance by the cast of the new Broadway production, Motown: The Musical. HFAS is grateful to the Riverside Church for hosting theHarlem Fine Arts Show and to the many community leaderswho help to make this annual event a success, but especiallyHarlem entrepreneur Ruth Clark, journalist Gayle King, Tara Newton of The New York Times, Congressman Charles Rangel, Harlem Arts Alliance’s Voza Rivers, MAD curator Lowery Stokes Sims, restaurateur B. Smith, and Susan L. Taylor, writer and editor (both past mistresses of ceremonies for HFAS), Lloyd Williams of the Greater Harlem Chamber of Commerce, and WBLS vice president Deon Livingston. To all who come out each year, thank you for your support. I hope you enjoyed the 2013 Harlem Fine Arts Show.

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l The growing popularity of arts fairs and expositions like Art Off the Main, the Outsider Art Fair and the Armory Show in New York, Art Basel in Miami, the Na-tional Black Arts Festival in Atlanta and others in Houston, Chicago, St. Louis, Palm Springs and elsewhere throughout the country evidences a hunger on the part of millions of Americans today for the truth and beauty and inspiration to be had from our encounters and conversations with fine art. Art, like love and religion, repairs the unities broken by experience. Like dreaming, as Joseph Campbell says, “it's a kind of licensed madness that ensures sanity.” And a lot cheaper in the long run than, say, psychotherapy. Access to art that speaks to our collective and personal dreams, that is both universal and culturally specific, is vital to our under-standing and interaction with it and one another. Into the void left by the departure of the National Black Fine Art Show from the New York scene several years ago, the Harlem Fine Arts Show (HFAS) has rushed to provide community access to fine art and a more culturally focused fare than is typically found in the general market. For many in Harlem and the surrounding communities, HFAS may represent their first exposure to fine art reflecting the breadth and depth of the African Diaspora. The show, which ran from February 7 through 10 this year at The Riverside Church in Harlem, offered collectors, enthusiasts, novices and celebrities a chance to view works on canvas and paper, photography, mixed media and sculpture by emerging, mid career and established artists, many of them on hand from throughout the country. More than eighty artists participat-ed this year and were seen by more than 10,000 people over the four-day run of the show, which is now in its fourth year and is always held during Black History Month. Some got a preview of the show that was to come when,

THE 2013 HARLEM fine arts shoW


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Connoisseurs and budding art enthusiasts alike browsed among the thousands of works presented at the four-day annual exposition.

BY KHEPHRA BURNS

Cathy Shannon, owner of E&S Gallery (top); artist Yves Deshommes, owner of Daki Art Gallery, specializing in Haitian art (center); and (left) the south hall of Riverside Church

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Local and national celebrities were present,but it was the art that held center stage

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Brazilian artist Ernani Silva withtwo of his paintings (top); Silva’s painting of carnival drummers (above) is exemplary of the show’s range and diversity of styles.

despite a snowstorm the evening of January 24, nearly six hundred guests attended a reception and viewing hosted at The New York Times Building in midtown Manhattan. In addition to the sampling of fine art on display, guests were treated to stellar performances by the casts of Mama, I Want to Sing and Motown: The Musical. Special tribute was also paid that evening to the late Percy E. Sutton, former Manhattan Borough president, Harlem businessman and a patron of the arts. Keisha Sutton James spoke briefly about her grandfather as “a man of great passion for the perform-ing and visual arts.” And Dr. Roscoe C. Brown, director of the Center for Urban Education Policy and professor at the Graduate School and University Center of the City Univer-sity of New York, reminisced about his and Sutton's early days together as Tuskegee Airmen. Members of the casts of both Mama and Motown performed again on opening night of the Harlem Fine Arts Show, part of the proceeds from which were earmarked for the nonprofit Mama Foundation for the Arts. Also on hand were former Mayor David Dinkins, Congressman Charles Rangel, New York City Councilwoman Inez Dickens, Khalil Gibran Muhammad, director of the Schomburg Center for Research in Black Culture

and others. But it was the art that held center stage that evening and for the three days that followed. “Even the blizzard that hit Manhattan the second day brought a sense of urgency and tension to the show that was not necessarily negative,” observed artist Brenda Joysmith, who had flown in from Memphis. “I saw things that I hadn't seen before—new work, new techniques in pastels, which is what I work in—and I found a lot of inspiration. I enjoyed seeing the patrons and other artists and really came away with a sense of renewal and a lot of ideas.” Sculptor Woodrow Nash, a veteran of the Harlem Fine Arts Show, Art Miami, Art Basel and others, said, “This is a wonderful and much-needed event. The potential is great, and it can only grow.” Jamaican-born painter Michael Escoffery agreed. “It's the only show of its kind and it's getting better every year, which is why we must continue to support it.” “The show is making the work of emerging artists and even the masters accessible to average people,” said artist Leroy Campbell, “making the work of the emerging artists accessible in terms of acquisition and the work of the mas-ters accessible for appreciation if nothing else. The potential

Tom Penich of BMW North America with HFAS founder Dion Clarke (top); artist Eric Girault (left); and Sharon and Karen Mackey of Mackey Twins Gallery with former mayor David Dinkins (above)

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for the educational component of the show is huge.” “The art was very impressive,” said Keisha. “Everywhere I looked, there was something I wanted to buy.” If you missed the show at The Riverside Church, there's still an opportunity to catch its younger sibling this summer on Martha's Vineyard in Massachusetts. At press time the dates had not yet been announced, but the show will almost certainly go up in August. Last year it was held at Hooked Restaurant and Island Inn in Oak Bluffs and brought together a diverse group of art enthusiasts, collectors and the curious to view the works of thirty emerging and established artists working in a wide range of media and styles. “The Vineyard represents a great national multicultural forum,” said HFAS founder Dion Clarke, “a collage of people who come from all over the U.S. and the world. We felt it was important in this day and time to embrace that ideal.” Among the artists participating was Paul Goodnight, whose work can be found in many private collections, including the writer's, and in the collections of institutions such as the Smithsonian and Hampton Institute. Ohio-

based sculptor Woodrow Nash was also a part of the Vine-yard show. Nash's ceramic pieces have a soul and earthy presence that evoke the nobility of the human form as it is adorned in African cultures to shape their presentation of self to the world. The Kenyan-born artist and curator Gathinja Yamokoski showcased the works of African artists representing eight different countries. “To be able to present African artists at a venue like this,” she said, “means everything.” The show also included local artists like painter Glenn Tunstull, who shows at the Cousen Rose Gallery in Oak Bluffs and who, like Nash, also worked as a fashion illustra-tor for a time with high-end fashion designers and design publications. Celebrated Harvard professor Henry Louis Gates, a long-time summer resident of the Vineyard who served as master of ceremonies for the show's opening, told the Washington Post's online magazine The Root, “I've been coming here for thirty years and I've never had anything like this before in the history of the African American presence on the Vineyard.”

PAGE 06 harlem fine arts shoW magaZine

Clockwise: artistGlenn Tunstull on

Martha’s Vineyard;his painting for anHFAS ad; armless

Haitian artist Joseph Jean Paul; and cast of Motown: The

Musical

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Thousands came out for the deep connectionthey make with art that speaks to their yearnings

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l An art gallery is a magical place. And to visit an art gallery that specializes in creative work by peoples of Af-rican descent is to be enveloped by the beauty, spirituality and nobility of a heritage that links all humanity. It is to embrace the deep soul memory of being there when the first humans walked eastward and northward from Africa to people the earth. While an art gallery is a place of the visual, it is also a place of voice. Listen, at the Nicole Smith Gallery in Chicago, for the voices of the Shona sculptors from Zimbabwe who invoke the timelessness of a craft that bangs inert stone into that which is precious and beautiful. Smith was born in the Republic of Haiti and was curator at the Centre d’Art in Port-au-Prince before moving to the U.S. in 1973. Through her gallery she has championed the careers of such contemporary artists as Nigerian sculptor N’Namdi Okonkwo, the Haitian painter Franck Louissaint and American collagist Allen Stringfellow. At the E&S Gallery in Louisville, listen for the voices of master teachers from historically black colleges—Lois Mailou Jones and Samella Lewis—as they resonate through the work of Gwen Knight and James Denmark, now renowned artists, who were their students years ago. The E&S gallery features works by such contemporary artists as Jonathan Green, Paul Goodnight and Annie Lee; mid-20th century artists Richard Mayhew and Dean Mitchell; and masters Jacob Lawrence and Elizabeth Catlett. Founders Walter and Cathy Shannon have made E&S a nationally recognized, full-service venue. At the Essie Green Galleries in Harlem, listen for the dignified voices of the black fine arts masters who speak across the centuries in painterly styles that include the figurative and the abstract, and media that encompass oil on canvas, water color, collage, photography, mixed media, sculpture and more. Romare Bearden encouraged the late Essie Green and her


Hearing voices. Galleries that frame the conversation: ShermanEdmiston of Essie Green Galleries in Harlem (top), and Walterand Cathy Shannon of E&S Gallery, Louisville, Kentucky.

MAGIC, MEMORY and voiCe

art galleries

husband and current proprietor, Sherman Edmiston, to dedicate the gallery they founded in 1979 to the work of black fine arts masters. Today, the gallery features such artists as Lois Mailou Jones, Charles Alston, Norman Lewis, Henry Ossawa Tanner, Edwin Bannister and, of course, Romare Bearden. The voices I hear at these galleries have seized my imagination and transported me to a time and a place of deep soul memory. These are ancestral voices, and I am grateful for them all.

From the walls of the galleries where they gather, the voices of the ancestors, spirits and kin speak of magic and memory through the artists who interpret them

BY LIV WRIGHT

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l The artist knows how to capture a moment in a way that the rest of us cannot. We yearn to take the work home with us because we’re not done with the moment. I’m thinking now of two iconic works by black masters that I’m not done with: The Banjo Lesson by Henry Ossawa Tanner, and Share-cropper by Elizabeth Catlett. I mention these because most art lovers have these images emblazoned in their memory. Maybe that’s because the images haunt us; maybe because we’re not done with them. And maybe we’re not yet done with the story that Tanner and Catlett have begun to tell us about the moment captured in the image. Is it possible that these works are memorable because Tanner and Catlett have succeeded in giving us a compelling “once upon a time”? All good storytelling begins with it, and the visual artist who masters the “once-upon-a-time” of the moment has mastered storytelling. Whether the style is figurative, as with Tanner and Catlett, or abstract, as with Richard Mayhew’s signature landscapes, I’ve been hooked by their storytelling—by their “once upon a time”—and can’t get away from it. There are artists today who are great storytellers. Among them

Every picture tells a story; some better than others. A masterful painting can haunt us with with questions that bring us back to it for years

BY LIV WRIGHT

Artists who tell tales of truth and beauty: Brenda Joysmith (left), Joysmith’s pastel Jamaica’s David, sculptor Woodrow Nash with ceramic figure, and Leroy Campbell with paintings and collages of his Gullah origins

the artist, THE STORYTELLER

artists

are Brenda Joysmith, Woodrow Nash and Leroy Campbell. I’m hooked by Joysmith’s pastels. I’ve see them displayed on the sets of such shows as The Cosby Show and The Hughleys, and they portend happy endings for the black families who have hung her works on their walls. Finally, happy endings for black people. That’s subtle storytelling, and it’s a good thing. I’m hooked by Woodrow Nash’s African Nouveau aesthetic. His Josh Green Collection was inspired by the Charles Chestnut 1901 novel, Marrow of Tradition, in which a race riot breaks out in a post-Reconstruction small town in the South. His is provocative storytelling. I saw echoes of the Treyvon Martin story there. And, as a New Yorker with roots in South Carolina, I’m hooked on Leroy Campbell’s signature style. “By painting images without facial features, except for full lips and elongated necks,” the Gullah scion says, “I leave room for the viewer’s own interpretation of the pieces.” That kind of storytelling is very Southern. For me, good visual storytelling shows that the artist wants me around for a while. And a compelling “once upon a time,” done with care and intelligence, can keep me coming back for years.

PAGE 16 harlem fine arts shoW magaZine

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“Frank Jr. You can be whatever you want to be. You can even be the President of the United States”, a dream which Frank’s mother, Madame LaSavage drilled in to him during his youth. His book re-counts both what happened to Frank as he scaled untouched heights and the guiding principles which sustained his ascent during good and bad times.

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HARLEM FINE ARTS SHOW MAGAZINE PAGE 19 PAGE 18 HARLEM FINE ARTS SHOW MAGAZINE

A


PERCY ELLIS By HERB BOyD

Sutton in the 1920’s with mother, Lillian; with granddaugh-ter Keisha as a child; and with Keisha as an adult

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“Late one night at the National Hotel in Havana, Cuba, Percy and I were awakened from our separate rooms by armed men, rousted out of bed, blindfolded and put into a car,” recounts Harlem Chamber of Commerce CEO Lloyd Williams. “When we asked why and where we were being taken, we were given no reply. For twenty-five years, my wife, Valorie, and I had traveled the world with Percy and Leatrice Sutton—Africa, South America, Europe, Latin America, Asia, Alaska and Caribbean. This can’t be happening, I thought. Finally, after being driven for over an hour, we were taken out of the car and into a house, our blindfolds removed, and we were given a warm welcome and cold mojitos by a smiling President Fidel Castro!” Life in the company of Percy Sutton was nothing if not interesting. From midnight till dawn, the hours they spent talking politics, apartheid, human rights, health care, history and sports with Castro was the twin of hospitality Castro had received from Mr. Sutton, Mr. Williams and Congressman Charlie Rangel at Jimmy’s Bronx Cafe in 1993 and, prior to that, Harlem in 1960.

Percy E. Sutton “owned” Harlem. When he strolled down 125th Street it often took him forty minutes to travel a single block. Despite his aristocratic manner, his patrician bearing, he always had time to shake a hand, greet a stranger and apply the common touch that characterized his winning personality. That “E” in his name was for Ellis, but it could have stood for elegant, eloquent or exquisite. His attire was impeccable, his expression articulate and his debonair style a combination of grace and gentility without pretense that was capable of disarming the most contentious adversary and commanding a boardroom of plutocrats. It was a sad and unforgettable day in Harlem—and the Harlems of the world—the day after Christmas in 2009 when “Mr. Chairman,” as he was affectionately known, joined the ancestors. He was 89. But by then his remarkable legacy was assured; his glorious career in law, politics and as an entrepreneur enshrined him in a pantheon of outstanding Americans. His service as a Tuskegee Airman, his political

SUTTONRENAISSANCE MAN Percy Sutton was a man of many talents with an expansive vision for Harlem

PERCY ELLIS SUTTON

HARLEM FINE ARTS SHOW MAGAZINE PAGE 21

Far left: Sutton withMalcolm X, whomhe served as legalcounsel; and left,attending the 2007naming of TheHonorable Percy E.Sutton Way at 5thAve. and 135th St.

PAGE 20 HARLEM FINE ARTS SHOW MAGAZINE

achievements, business accomplishments, human rights advocacy and numerous honors include his tenure as the longest serving Manhattan Borough president (1966-1977); the prestigious Spingarn Medal from the NAACP, of which he was formerly New York branch president; and the critical role he played in expanding the New York City Marathon, which, like many of his other civic endeavors, played a pivotal role in reviving the economic life of Harlem. The reinvigoration of 125th Street and, broadly, Harlem followed on the heels of Percy’s purchase of the Apollo Theater in the early eighties when “it was overrun with rodents and the basement was flooded,” as he often recounted. He invested millions of dollars refurbishing the Apollo and was a major supporter of the Studio Museum and the Dance Theater of Harlem, as well as individual artists as an early collector of African American art. Prior even to rescuing the Apollo from bankruptcy and reviving it as the showplace for both emerging and internationally acclaimed performers, Percy, along with Hal Jackson and others, acquired WLIB-AM in 1971. This was the beginning of Inner City Broadcasting Corporation (ICBC), which spawned a number of near-legendary disc jockeys on ‘LIB and, three years later, WBLS-FM. Though short-lived, there was also the Apollo Record Company, which wasn’t around long enough for Percy to get some of

his own lyrics on wax. Few people are aware of Percy’s prowess with the pen, especially his poems, notes arts impresario Voza Rivers. “I’ve written poems and songs, that is I’ve composed countless lyrics, but none has been set to music,” Percy once lamented. Actually, those who paid close attention heard Percy’s lyrics in the opening theme of It’s Showtime at the Apollo, which has been sampled and remixed by several artists. Like the man himself, his prose—whether in a legal brief, essay or preface to a book—was marked by clarity and conciseness. In the foreword to a book on the great Sugar Ray Robinson, whom he represented in several cases (as he did Malcolm X), Percy recalled the star-crossed relationship between Sugar Ray and his second wife, Edna Mae: “Together, there was a time when they were an indomitable couple, dominating the social scene and providing Harlem with its own touch of royalty. “In the seamless weave of their lives, we are able to relive the community’s promise in the forties and fifties, when Sugar Ray’s pink Cadillac was symbolic of an evanescent prosperity,” he added. “Those were the years when Sugar Ray’s glory was inextricably linked to Harlem’s fortunes, and we reveled in the ascent of those moments, just as we mourned their demise.” Percy’s inimitable style, like Sugar Ray’s, fueled the dreams and aspirations of the Harlem community, and he

incorporated much of the panache and celebratory elements of the boxer’s café in It’s Showtime at the Apollo. The show, which was broadcast from 1987 to 2008, catapulted hopefuls and hosts, including such luminaries as Sinbad, Steve Harvey, Mo’Nique and Whoopi Goldberg, from local comedy circuits to Hollywood stardom. Comedian Terry Hodges credits his own longevity in this business to lessons learned under Mr. Sutton’s tutelage. Being punctual, professional, well-dressed and funny without using profanity, Hodges was plucked from the Apollo stage to tour with the likes of Eddie Levert of the O’Jays, Luther Vandross, Patti LaBelle, Anita Baker and, for the last six years, Chris Tucker. It’s Showtime at the Apollo may have been Percy’s most colorful vehicle of communication, but it was in the black and white of print reportage that he helped keep the black community informed as part-owner of the Amsterdam News with H. Carl McCall and others in the early 1970’s. Those very productive years gave a bevy of editors, reporters, photographers and freelance writers opportunities they otherwise would not have had. Providing artists with opportunities—whether sponsoring their exhibitions or helping them secure the wherewithal to present their productions—was done without fanfare, but there are many who benefitted from his quiet largesse. “He

was an extremely generous man, who preferred to stay behind the scenes in his support of many projects by painters, dancers and artists of varying crafts,” says Billy Mitchell, widely heralded as “Mr. Apollo” because of his long association with the theater. Those opportunities extend to many who never knew him, including thousands who benefitted from Percy’s deep commitment to education. And for that, the SEEK program (Search for Education, Elevation and Knowledge) was renamed in his honor. The four-year program, set up to provide access to higher education for underserved and under-ready high school graduates, was established for the City University of New York by the New York State Legislature under his and Arthur Eve’s leadership and quickly became the blueprint for countless such programs across the country. He was, in the words of Lloyd Williams, “a man for all seasons” and the real ringleader of the legendary Gang of Four, which included Congressman Charles Rangel, former Mayor David Dinkins and attorney Basil Paterson, and for decades was the power behind Harlem politics. The opportunities he created, especially for aspiring artists, he easily could have taken for himself. He could have indulged himself, since he had the money and power to do so. But his greatest satisfaction came in helping others succeed, and in those endeavors it might be said that his life was a work of art.

The reinvigorationof 125th Street andHarlem followed on the heels of Percy’s purchase of the Apollo Theater in the early 80’s when “it was over-run with rodents and the basementwas flooded”

He was a man for all seasons and thereal ringleader of the legendary Gang ofFour, which included Rangel, Dinkinsand Basil Paterson, and for decades wasthe power behind Harlem politics.

Congressman Charles Rangel andPercy Sutton at SEEK program rally;

Rangel and Sutton with Mayor DavidDinkins and wife, Joyce Dinkins, at

Apollo unveiling; Percy Sutton on the streets of New york with

Muhammad Ali and Mayor Dinkins

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Tickets and schedule at njpac.org or call 1-888-GO-NJPAC (1-888-466-5722)facebook.com/njpac twitter.com/njpacyoutube.com/njpactv

Come to the Center of it All

Alvin Ailey American Dance TheaterAlicia Graf Mack: photo by Andrew Eccles

5/10-12

NEW JERSEY PERFORMING ARTS CENTER

One Center Street, Newark, NJ

Mike Tyson3/19

Anthony Hamiltonand Chrisette Michele 2/14

Take 6 and Hezekiah Walker 3/29

Whoopi Goldberg3/8

Film Discussion Series

with Nelson George 2/1

Jersey Moves Festival Of Dance

2/23

Sweet Honey In The Rock3/2

MLK Celebration with Marvin Sapp 1/18

HarlemFineArtsShow_Ad.indd 2 1/8/13 11:18 AM


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ART AS A cONvERSATION

Since 1968, the Studio Museum in Harlem has showcased the depth and diversity of works by black artists

By KHEPHRA BURNS

An Interview With Thelma Golden

In late December 2012 HFAS Magazine editor Khephra Burns spoke at length with Thelma Golden, director and chief curator of the Studio Museum in Harlem. A native New Yorker, Golden trained as a curatorial apprentice at the Metropolitan Museum of Art while still in high school. Shewas a curator at the Whitney Museum of American Art from 1988 to 1998, where she created, among other exhibitions, a site-specific program for the Whitney’s branch museum at Altria and presented projects there by artists such as Alison Saar, Glenn Ligon, Romare Bearden, Lorna Simpson and Jacob Lawrence. She joined the Studio Museum as deputy director for exhibitions and programs in 2000 before succeeding Dr. Lowery Stokes Sims as director in 2005.

KHEPHRA BURNS: Thelma, what is the mission of the Studio Museum in Harlem and how has it changed over the years? THELMA GOLDEN: When we were founded in ‘68, this

museum was a radical gesture towards correcting the inequity in how black artists were presented in museums all around the country. It took the approach that it could be, on the one hand, a sort of incubator and lab to help nurture young artists, but that it also could take intellectual leadership in creating exhibitions, programs and projects that challenge notions of art history that did not include the breadth and the depth of the contributions by black artists. Our mission is to collect, preserve, present and interpret the works of artists of African descent, locally, nationally and internationally. We’re also interested in work that is influenced or inspired by black culture. The mission hasn’t changed, but the museum has changed as the world of art for black artists has changed.

KB: You also have an excellent artist-in-residence program, from which a number of artists I know have benefitted.

TG: The studio program and the artist’s studio, literally, are at the

heart of our mission. So, where some museums are in the project of presenting, this institution has always seen the process and the practice of making art, and the space in which artists work, as the heart of what we do. So the artist-in-residence program, which is really the founding program of the museum, exists to be able to give three artists each year the opportunity to make their work, be supported and end the year with an exhibition on our walls.

KB: Talk for a minute about art as a vehicle for self-discovery and how it helps to shape the way we think about ourselves.

TG: What I find important and valuable in the experience of art is the way it allows us to understand culture, understand history, a moment in time, understand ourselves: the way in which we might answer questions; the way in which we might pose questions about the many things that consume us as we strive to understand what it means to be human. The places where we have that experience with art—museums—provide us with something that we don’t get in other parts of our life in a way that I can’t imagine living life without.

KB: On a number of occasions I’ve heard you use words like “conversation” and “dialog” in reference to the relationship between artist and audience. Describe that. TG: I think the way artists converse with the community is through their work. As a curator, what you are often doing is creating the opportunity for that conversation to happen with the public. Artists make work in the studio, but it’s the point of presentation that allows for the public to engage with the artist’s work and ideas.

KB: Perhaps then art is not necessarily an artifact but a process whereby the artist creates something out of a particular social or cultural context, and the community is then changed by it in some way. That changed community becomes the new context from which the artist makes a new statement, and this “conversation” drives cultural development. You, for instance, have referred to the artist’s studio as a laboratory for changing

paradigms and culture. Is that true for museums as well?

TG: It is. Because the role of museums is changing, and that’s because art is changing. While we think of the museum as a place for housing paintings, sculpture and maybe photography, artists today are working in new forms, where some of the work is happening in real time in the realm of performance, or it’s happening in the space of ideas as in conceptual art. So I think of the museum also as a laboratory that is allowing for the presentation and the interpretation of these expanding artistic forms.

KB: You included J.J. from the sitcom Good Times among those artists who influenced the direction your life has taken. I’m curious about that. I also understand the black minstrel tradition as a sometime subversive form for commenting on white pretensions and black oppression, as in the cake walk, for example. But give me your take on J.J. as the first “black artist” to gain national television exposure.

TG: Let me say that the reason I could understand who I was

was because I saw images that reflected who I might be in Essence magazine. Any notion I have about who or what a black woman could be, outside of those very real examples I have on my mother and my aunt, you know, the women around me, came in seeing those pictures of black women...

KB: in Essence... TG: Yes...black women in all forms and colors doing many different things. So that, at the point at which I became the woman who wanted to be a curator in a museum I had images that let me know it had happened. There had been a Mary Schmidt Campbell, art historian, curator and director of a place called the Studio Museum in Harlem that could be an example. As a young woman, 7, 8, 9 years old, really lucky to grow up in this city with access to museums, I had parents who took me to those museums. I saw artworks. But it wasn’t until watching Good Times... which was not approved-

THELMA GOLDEN

I live inspired by those artists like Gordon Parks who use their artwork for causes and ideals greater than aesthetic gratification.


watching in my house. Let me just say that. It required sneaking. But without understanding of the complexity of many of those images, I entered into it for its humor. But then a light bulb went off. Until that moment, the idea of artist and black person had never come together for me. By the time I was 10, 11, 12, I came to know that the artist whose works were represented in Good Times was an artist named Ernie Barnes, only recently deceased, but at that time living. But because of that choice on the part of the director or producer with regard to a character named J.J., who was to be an aspiring artist, and who needed artworks every week to represent his work, those images by Ernie Barnes became very well known and synonymous for many people with black art. For me, to make that connection between artist and black person, and then realize that a black artist made those works on a TV show that in that era everyone watched.... For me as someone now deeply invested in how the work of black artists travels in the world, gets seen, gets understood and becomes normative as an idea, that that little pop-culture moment really looms for me as profound. KB: Not only did it give Ernie Barnes wide exposure, but gave a lot of black folk their first exposure to a black artist.

TG: And when I met Mr. Barnes, he said that. It would be major now. If I said to you that Kehinde Wiley’s works were going to be on...I don’t know what. But this was, for me, an important gesture and a real instruction point my development.

KB: Is there room in the culture for self-parody, for the freedom to laugh at ourselves unselfconsciously?

TG: One of the reasons I’m a curator is that this is a conversation I can have every day. I think that images are complex, and the way in which we understand images is a reflection of how we understand ourselves and our world. And having a wide realm of images allows us to respond and react and also to become creators ourselves of the kinds of images that speak to who we are and what we do.

KB: And the wider the exposure given to black images and artists, the more aspiring young artists entering the field.

TG: And I think that’s amazing. This museum, the Studio Museum, has been fortunate to be able to watch the present generation of young black artists form and find their voice, and we are proud to see those voices out in the world

speaking to the depth and breadth and diversity of their ideas. And that’s what makes an institution like this one so critical—critical that it was founded but key that it still exists to provide the platforms for this kind of work.

KB: Who are some of the artists that you’re following and are excited about today?

TG: This exhibition, the 29 artists that are on view now.

KB: Toyin Odutola, Kenyatta Hinkle....

TG: Yes. All of them showing in Fore. I didn’t curate the show; we have three amazing young curators here at the Studio Museum—Lauren Haynes, Thomas Lax and Naima Keith. This show is theirs. These are the artists they’re excited about. But as director of this institution and a very passionate audience member, I’m grateful to them for giving us the opportunity to meet and come to know who I think we’re going to be looking at and talking about for a long time.

KB: How long is the show going to be up?

TG: Until March. Something that’s also up now and will be up until June is an exhibition of Gordon Parks work called A Harlem Family 1967. This year [2012] is the centennial of Gordon Parks’s birth. Parks would have been 100 on November 30, 2012. This exhibition comes out of a group of photographs that Parks took in 1967 that were published in Life magazine in 1968 as part of an issue that focussed on poverty in America. Parks sort of embedded himself with a family here in Harlem—the Fontenelles—that was living in poverty and with all the challenges that come from that kind of economic disparity and lack of access to basic human rights and needs. Documenting this family with the vision and eye he had as an artist who was also an activist, and the beauty that comes from work that really tells the truth...this, for me, is just such a powerful way for this institution to honor the history of this neighborhood in all of its range. To look at these images from 1967 and to really think about them as we strive to understand the present here in Harlem and around the country. I live inspired by those artists like Gordon Parks who use their artwork for causes and ideas and ideals greater than just aesthetic gratification. And I think that makes certain artists not only seminal and iconic, but also timeless. When someone in 2067 looks at these images, they’re still going to have the power, they’re still going to tell the truth and they will still offer an understanding of that particular moment in ways that you experience only through art.

THELMA GOLDEN


1-866-FOR-NAVY

DIVERSITY

THE VALUE OF MUTUAL RESPECT

DiversityAdd.indd 1 11/8/11 3:37 PM

When the Motown Record Corporation rolled out of the Detroit factory of Berry Gordy’s imagination in 1960, it was fueled by the urge of all great black art: to thrill the senses and light the mind in one blessed gesture. Motown engineered its unique model of musical genius to navigate the twists of a tortured racial history and the turns of a black culture at once accommodating, resisting and redefining American identity. It was no small feat for an upstart black record label to so quickly live up to its courageous, and at the time, brazen slogan: The Sound of Young America. Gordy dared the nation to deny the Motor City tunes floating from their car radios – a sound that Motown’s engineers perfected by building a small tinny-sounding radio to mimic what came tumbling from automobile speakers – weren’t the sounds of a nation on the brink of leaving its bitter racial divisions in the dust.

Gordy’s gospel of racial harmony was brilliantly exhorted by solo evangelists like Smokey Robinson, Marvin Gaye and Stevie Wonder, and supported by angelic choirs like the Temptations, the Supremes and the Four Tops. Hungry to spread its message around the globe, Mo-town hit the road in the sixties for a series of concerts that featured its leading stars in the Motortown Revue. More than once during that decade of seismic social change the Motortown Revue lighted on Harlem’s legendary Apol-lo Theater. The storied community that hosted a black literary renaissance in the twenties and thirties seemed the perfect witness to the flowering of its musical analogue thirty years later. The first of four albums issued by Mo-town that featured live recordings of its stable of artists in the Motortown Revue was recorded at the Apollo during a weeklong stint in 1962 and released in 1963. And fifty


The culture workers of Berry Gordy’s Detroit hit factory pumped out miracles, temptations

years after first conquering New York, Motown reclaims its lofty legacy by taking to Broadway in a majestic musical that captures the label in its heyday. The beauty of Motown: The Musical coming to the Great White Way is that it deepens the symbolic ties of two great black meccas – Harlem and Detroit. It also underscores how crucial Motown was in reshaping the image of black folk to the world: The stereotype of the couthless coon and the tacky tramp gave way to the glamor and glory of men and women singing of black love and social change. It is a sign of the times that, despite a beautiful black couple occupying the White House, in part because of the world Motown helped create, and imbued with the panache of Marvin Gaye and the elegance of Diana Ross, the need still exists to celebrate the full range of black style and to sing of black love in the hopes of a better world. As it was in its first incarnation, the return of Motown sounds just right.

By MICHAEL ERIC DySON

The Supremes, circa 1960 (below, left); Berry Gordy, Diana Ross (center) and Stevie Wonder with Gordy’s sister Esther Edwards (second from left) and friends. Opposite: Smokey Robinson and Berry Gordy (left); Gordy presenting The Great March to Freedom album to Dr. Martin Luther King, Jr. (top right); and Motown: The Musical stars Brandon Victor Dixon, Valisia LeKae and director Charles Randolph-Wright

and wonders that changed America

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l In the ecosystem of delivery and dining out that is Manhattan, Harlem today offers a rich reserve for a breakfast with business, brunch by mandate, dinner for two or twenty, or even the necessary nightcap. And with the charms of good company, the dining scene will easily evaporate any desire to venture below 110th Street.

On Lenox at 125th Street, no matter the hour or day, you’ll run into friends at the Red RoosteR, home of one of the best bars and art collections in Harlem. Savor a sumptuous Pinot and the works of Sanford Biggers, Lorna Simpson and others, courtesy of the Studio Museum. Here art and the art of living well meet. Rendezvous with friends over cornbread, bunny pie, fried yardbird or the peanut stew, if you catch it in season. The Rooster’s downstairs lair, Ginny’s suppeR Club, recreates the thrill of the Harlem Renaissance, hosting iconic artists like Robert Glasper and Roy Ayers in an intimate setting.

Open after five, Wednesday through Saturday, Cove lounGe at 325 Lenox Avenue has it all — food, music, dancing. But no matter how marvelously the deejay spins that forgotten favorite song, or how attractive the smiling interest at the end of the bar, focus on the red velvet waffles and fried chicken, the lobster macaroni and cheese and the island chicken wings. In fact, have the entire menu. You must. The world can wait.

Further down Lenox you’ll find native. Rowdy and full of color, it’s home to one of the best burgers in New York. Topped with goat cheese, onions, bacon and naughty goodness, it’s the ultimate indulgence. Paired with a well-thought red wine, you have both indulgence and sympathy on a good heart. Better known still for its Moroccan fried chicken, Native is the insider’s choice for dinner with old friends. On Frederick Douglass Boulevard, it’s Melba’s for the

Harlem HOTSPOTS

soul of soul food. Think about southern fried chicken and eggnog waffles, pecan crusted tilapia and wine-braised short ribs, a side of collard greens, a cheddar grits cake and country yams. Just the thought puts me in the ecstasy of a comfort food coma. Come for a lazy brunch or late, lingering dinner.

Deutschland in Harlem! Who would have thought? But there it is, bieR inteRnational, a German biergarten, or beer garden, at 2099 Frederick Douglass Boulevard. With a menu offering favorites like the Berliner currywurst, brochettes Dakaroise and mussels provençal, it’s always a good bet.

lido, at Frederick Douglass and 117th Street, is a wonderful Italian restaurant that is home to one of the most delicious dessert menus Harlem has to offer. My favorite is the chocolate budino, a dark chocolate mousse topped with olive oil and sea salt. But from the crostino to the pastas, Lido is worth keeping in the monthly rotation.

These are just a few of my favorite spots. I also love the sushi at Jado, las comidas cubanas at FloRidita, the drinks and popcorn at 67 oRanGe, the coffee and desserts at il CaFFe latte and the brunch at RistoRante settepani. No matter where you land uptown, the best part of dining in Harlem is the personalities of the restaurant owners and their love for the vita locale.

BY JeNNA BOND @thejennabond on Twitter.com

DINING

HARLeM FINe ARTS SHOW MAGAZINe paGe 31 paGe 30 HARLeM FINe ARTS SHOW MAGAZINe

1. Red RoosteR HaRlem, 310 Lenox Avenue, between 125th and 126th Streets, Harlem, New York. (212) 792-9001 Brunch, Lunch, Dinner, Drinks.

2. Ginny’s suppeR Club, downstairs from the Red Rooster. (212) 421-3821 Dinner.

3. Cove lounGe, 325 Lenox Avenue, between 126th and 127th Streets, Harlem, New York. (212) 665-3455 Appetizers, Drinks.

4. native, 161 Lenox Avenue at 118th Street, Harlem, New York. (212) 665-2525 Brunch, Lunch, Dinner, Drinks.

5. melba’s, 300 West 114th Street on Frederick Douglass Boulevard, Harlem, New York. (212) 864-7777 Brunch, Lunch, Dinner.

6. bieR inteRnational, 2099 Frederick Douglass Boulevard, between 113th and 114th Streets, Harlem, New York. (212) 280-0944 Brunch, Dinner, Drinks.

7. lido, 2168, Harlem, New York. (646) 490-8575 Brunch, Lunch, Dinner, Drinks.

8. Jado susHi, 2118 Frederick Douglass Boulevard, between 114th and 115th Streets, Harlem, New York. (212) 866-2118 Dinner, Drinks.

9. 67 oRanGe, 2082 Frederick Douglass Boulevard, between 112th and 113th Streets, Harlem, New York. (212) 662-2030 Appetizers, Drinks.

10. il Caffe latte, 189 Lenox Avenue, between 119th and 120th Streets, Harlem, New York. (212) 222-2241 Breakfast, Lunch, Dinner.

11. settepani, 196 Lenox Avenue at 120th Street, Harlem, New York. (917) 492-4806 Lunch, Dinner, Drinks.

12. floRidita, 700 W. 125th Street, Harlem, New York, (212) 662-0090 Breakfast, Lunch, Dinner.

youR HaRleM RestauRant Guide

12 GReat plaCes

Harlem today offers a rich reserve for fine dining and fortifying spirits

1, 2, 3. 4: Red Rooster. 5, 6: Melba’s. 7, 8, 9: Bier International.

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Let us cater your next event

300 W. 114th St. New York, NY 10026 at Frederick Douglass Blvd.

Open Mon - Sat: 5pm - 11pm and Sat & Sun: 10am - 3pm & 5pm - 10pmwww.melbasrestaurant.com Phone: (212) 864-7777 Email: [email protected]

The NaTioNal CoaliTioN of 100 blaCk womeN, iNC.

is proud to support the 4th annual Harlem Fine Arts Show

Save the Date for the June 8, 2013 black-Tie Gala

www.ncbwbergenpassaic.org 201.287.9600

The hARLeM FINe ARTS ShOW comes to

MARTHA’S VINEYARDAugust 6th through August 11th

• 20 plus artists and galleries for a week to remember• Meet and greet the artists and gallery owners

For additional information visit hfas.org or call 914.450.4269

Sponsored by BMW

Come join the HFAS as we celebrate a week of heritage on the island. Art from the african diaspora on exhibition and for sale.

• 20 plus artists and galleries for a week to remember• Meet and greet the artists and gallery owners

Joan Adams#

Robin AlstonValerie Lancaster Beal†

Brenda BennettAnna Maria Bishop-Harris†

Laura Blackburne#

Nissa Walton BookerPatricia BransfordLavonnie BrinkleyPeggy ByrdMartha Cameron#†

Michele CameronCamille ClarkKimberly CopelandMonica Azare DavenportKimberly DavisBarbara Delany#

Laurie DubrielHazel Dukes#†

Caroline Taylor EllersonRita FalkenerToni FayRozalynn S. FrazierAngela GibbsMonique Davis GordonDiane GreeneElaine GriffinLaShann DeArcy Hall

Carla HarrisGayle HawkinsJessica IsaacsJerri IrbyTracey Brown JamesCheryl JoynerHarriette Mandeville#

Barbara Martin#

Valerie Kennedy Miller Brenda Neal#

Pamela Palanque NorthMichelle Paige-PatersonDenise PerryDelores Bullock PogueMarquita Pool-EckertChrystie PriceDanyale PriceVikki PryorJennifer RandolphAlma RangelDana ReedLillian Reynolds Orchid RichardsonBarbara Smith#

Shanta SullivanDeirdre WilsonDoris Withers#

Sylvia Wright#

Alumna MembersGladys Merritt Congo#

Jackie Kryger Fisher#

Nell Braxton GibsonJanice HunterArden Shelton#

# Charter Members† Former Presidents

Chapter OfficersPresidentInez N. Richardson#

Vice PresidentDawn Hankin Cliette

TreasurerBetty Adams#

Financial SecretaryThelma Dye Holmes

Recording SecretaryRita Sinkfield Belin

Corresponding SecretaryTiffany Hall

PrOudly suPPOrts the hArleM Fine Arts shOw

the MetrO-MAnhAttAn (ny) ChAPter OF the links, inCOrPOrAted

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Documents

HFAS Magazine Spring 2013