Category: Arts / Style

Chicago Cultural Center Features Exhibition on African American Designers that Explore Art, Commerce and Politics of Race

A selection of materials from Charles Dawson: an advertisement for Slick Black, O Sing a New Song, plus Together for Victory by an unknown designer. (Composite: James Prinz Photography, Chicago)

by  via theguardian.com

The first known African American female cartoonist was Jackie Ormes, who not only penned cartoon strips throughout the 1940s and 1950s, but designed a black doll called the Patty-Jo doll, which was released in 1947.

The Patty-Jo doll by Jackie Ormes. (Photograph: Courtesy of Nancy Goldstein)

Patty-Jo, a precursor to Barbie, which came in 1959, was based on a cartoon strip character of the same name, had an extensive wardrobe with preppy shoes, winter coats and ball gowns – and had the brains to go with it.

In a cartoon strip from 1948, Patty-Jo asks a white woman: “How’s about getting our rich Uncle Sam to put good public schools all over so we can be trained fit for any college?”

The doll is on view in a new exhibition in Chicago, African American Designers in Chicago: Art, Commerce and the Politics of Race, at the Chicago Cultural Center. Featuring more than 50 design works, it highlights prominent black figures who worked between 1900 and 1980 in graphic design, editorial and product design, billboard ads, and created the first black-founded ad agency.

The seeds of the exhibit were planted in the 1990s, when University of Illinois professor Victor Margolin started to explore a gap in the history of American design.

“Margolin was one of the first scholars who asked why there has been a lack of scholarship on African American designers,” said the exhibition curator Daniel Schulman. “He went into the field and interviewed 25 designers who were active from 1930s to 1980s, many of which are in the exhibit.”

With a focus exclusively on Chicago designers, it highlights artists who shaped the look of black publications like the Chicago Defender and the Johnson publishing house, founded in 1942 by African American business mogul John H. Johnson, which founded Jet and Ebony magazines alongside the now-defunct Black World, Ebony Man and Black Stars.

“Our thesis is that Chicago is a special center for design for African Americans because it was one of the major sites in the north they came to from the rural south in mid-20th century,” said Schulman. “It has a large, vibrant and politically powerful design community.”

Among the works in the exhibit is an original Patty-Jo doll designed and produced by Ormes, who was a cartoonist for the Pittsburgh Courier, though she lived in Chicago. The doll, in a yellow dress, was highly coveted by African American girls, though it was so expensive, parents had to pay in instalments.

“The doll was noteworthy for its quality. Its facial features were hand-painted and designed from life-like materials,” said Schulman. “It was a role model for any child.”

It ties into the cartoons Ormes built around the Patty-Jo character. “She was a beautiful fictional character who was known for making witty, astute remarks about the world around African American middle-class people in the 1940s and 1950s,” said Schulman. “The doll was in production for 10 years, it had an extraordinary presence and power, and today, they’re collectibles holding an importance place in American doll-making.”

Among the other designers in the exhibit, there are advertisements by Charles C. Dawson, who designed the graphics promoting Slick Black, black hair color tins from the 1930. Dawson was also part of the New Negro art movement, which surfaced around the same time as the Harlem Renaissance black arts movement in New York.

In 1971, the first African American-owned advertising agency was co-founded by Emmett McBain and Thomas J. Burrell. Burrell McBain Advertising boasted clients such as McDonald’s and Coca-Cola.

“It was enormously important,” said Schulman. “It was one of first black-owned firms to land major national accounts like cigarette manufacturers and campaigns for companies that included African Americans in mainstream roles on TV and in magazines, which brought their image to a broader public. It was a new and powerful conception of black commercial, political and social power.”

A 1963 issue of Ebony, with Frederick Douglass on the cover. (Photograph: James Prinz Photography)

“Instead of having contemporary life portrayed with celebrities or ordinary people, this cover looks back on 100 years of the emancipation proclamation,” said Schulman. “It shows Ebony engaged with civil rights.”

Also on view is a comic called “Home Folks” by Jay Jackson, a cartoonist for the Chicago Defender who won several awards for his cartoons made during the second world war. A panel on view called Debt and Taxes shows one character complaining: “What do they mean ‘income tax’? It should be ‘outgo’ tax!”

“It’s a masterpiece,” said Schulman. “It shows young, middle-class African Americans in a wonderful mid-century modern interior talking about how expensive things are, the dream of prosperity that was commonplace as a selling technique in the 1950s, this mass consumer market and postwar prosperity. In popular media, you don’t always see African Americans taking part of a stream of plenty in the 1950s.”

But ambition aside, it was tough for African Americans to break into the advertising industry, not to mention navigating the office culture once they were there. “It’s really about working in a field with so few African Americans designers in it,” said Schulman. “There are images that show how frustrating it could be in such a tiny minority in this field – there is one image of Eugene Winslow in his office with commentary that shows he was unhappy being a supervisor of an all-white staff who did not appreciate having a black supervisor.”

Though this showcase of pre-digital design ends in the year 1980, it still is a triumph, especially considering many ephemeral pieces of graphic design from the past were lost.

“It’s not an encyclopedia, it’s an introduction,” said Schulman. “What we’re trying to demonstrate here is the lasting influence and effectiveness of the visual arts and design throughout the 20th century in Chicago.”

African American Designers in Chicago: Art, Commerce and the Politics of Raceis on display at the Chicago Cultural Center until March 3, 2019.

Source: https://www.theguardian.com/artanddesign/2018/nov/08/black-design-chicago-art-commerce-politics-race?CMP=share_btn_link

Betye Saar, 92, Artist Who Helped Spark Black Women’s Movement Has “Betye Saar: Keepin’ It Clean” Exhibit Opening in NY on November 2

Betye Saar – “Supreme Quality” (Photograph: Kris Walters/Courtesy of the artist and Roberts Projects, Los Angeles, CA)

by Nadja Sayej via theguardian.com

In 1972, a black cultural center in Berkeley, California, put out a call for artists to help create an exhibit themed around black heroes. One African American contemporary artist, Betye Saar, answered. She created an artwork from a “mammy” doll and armed it with a rifle.

Betye Saar (photo via dailybruin.com)

According to Angela Davis, a Black Panther activist, the piece by Saar, titled “The Liberation of Aunt Jemima,” sparked the black women’s movement. Now, the artist’s legacy is going on view in New York with “Betye Saar: Keepin’ It Clean,” an exhibit opening on November 2nd at the New York Historical Society, featuring 24 artworks made between 1997 and 2017 from her continuing series incorporating washboards. The exhibit runs until May 27, 2019.

“Saar says that it’s about keeping everything clean, keeping politics clean, keeping your life clean, your actions clean,” said Wendy Ikemoto, the society’s associate curator of American art. “She wants America to clean up its act and a lot of her art has to do with this idea that we haven’t cleaned up our act.”

Saar, 92, was born in Los Angeles and turned to making political art after the assassination of Martin Luther King Jr. “After his assassination in 1968, her work became explicitly political,” said Ikemoto. “That’s when she started collecting these racist, Jim Crow figurines and incorporated them in her assemblages.”

Betye Saar – “Dark Times” (Photograph: Robert Wedemeyer/Courtesy of the artist and Roberts Projects, Los Angeles)

Saar was part of the black arts movement, the cultural – often literary – arm of the black power movement of the 1960s and 1970s; she was also among so-called second wave feminists. But she still found herself at a crossroads. “The black arts movement was male-dominated and the feminist movement was white-dominated,” Ikemoto said. “Being at the intersection of both movements, she became one of the most prominent black female artists for presenting strong, recognized women who are fighting off the legacy of slavery. I think it did open doors for other artists to follow.”

This traveling exhibit, from the Craft and Folk Art Museum in Los Angeles, shows Saar’s consistent message through her washboard series. “Many of her works tackle the broad issue of revisioning derogatory stereotypes to agents of change, historical change and power,” said Ikemoto. “Many artworks feature descendants of Aunt Jemima and mammy figures armed to face the racist histories of our nation.”

The exhibit includes “Extreme Times Call for Extreme Heroines,” a washboard piece Saar made in 2017 that features a mammy doll holding a pair of guns. The washboards are used in lieu of canvases and are loaded with symbolism.

“The washboard becomes her frame for the art, it’s the star,” said Ikemoto. “It’s the structure of black labor and she is moving it from a space of invisibility to highlight it. She is also using this humble object of hard labor to subvert notions of fine art.”

Each washboard is like a puzzle to be decoded, filled with small details that reference American history. There are Black Panther fists, references to police brutality and phrases from the Harlem renaissance poet Langston Hughes.

There are also references to Memphis, the city where King was assassinated, and to the Congolese slaves who were killed under the Congo Free State. Some washboards include phrases such as “national racism”.

“It’s as if Saar is suggesting how racism is so entrenched in our nation that it has become a national brand,” said Ikemoto. “She takes something that is a sign of oppression and violence, something pejorative and derogatory, and transforms it into something revolutionary.”

Not all of the artworks are on washboards, however. One piece from 1997, “We Was Mostly ’Bout Survival,” is on an ironing board, emblazoned with an image of a British slave ship.

“I think this exhibition is essential right now,” said Ikemoto. “I hope it encourages dialogue about history and our nation today, the racial relations and problems we still need to confront in the 21st century.”

More: https://www.theguardian.com/artanddesign/2018/oct/30/betye-saar-art-exhibit-racism-new-york-historical-society

Columbia University’s Wallach Art Gallery Debuts “Posing Modernity,” an Exhibition on The Evolution of Black Women Models in Art

Frédéric Bazille – Young Woman with Peonies, 1870. (Photograph: National Gallery of Art/Image courtesy National Gallery of Art)

by  via theguardian.com

In 1863, the French artist Édouard Manet painted Olympia, a reclining nude prostitute, shedding a scandalous light on Parisian brothel culture. But while much of the attention has been on the white model in the painting, Victorine Meurent, the black model beside her, Laure, has been largely overlooked by art historians.

Curator Denise Murrell (photo via 92y.org)

“People have told me, ‘It’s not that I didn’t see the black maid in the painting, I just didn’t know what to say about her’,” said the curator Denise Murrell. “I always felt she is presented in a more stronger light than maids usually are, and I wondered what could be said about her, even though art history said very little.”

This one painting then sparked the exhibition which Murrell has curated, Posing Modernity: The Black Model from Manet and Matisse to Today, opening at Columbia University’s Wallach Art Gallery in New York on October 24th.

From photography to painting and sculpture, as well as film and print correspondence, this exhibit traces how the black figure has been key to the development of modern art over the past 150 years. Many of the artists here bring to light much of what art history has ignored.

“I’m looking for angles that are more relevant than just the standard narrative of the art world,” said Murrell. “I’m giving a number of different narratives that can be discussed around the black figure; there is a wider variety of black models, especially the black female figure, in broader, social roles.”

Henri Matisse, Dame à la robe blanche (Woman in white),1946. (Photograph: Courtesy of Des Moines Art Center)

Among the artists in the exhibit, there are works by Henri Matisse, including “Dame à la robe blanche (Woman in white),” from 1946, showing a black model in a white dress. The painting was made after the artist’s visit to Harlem in the 1930s, where he met local artists as part of the Harlem Renaissance, a black arts movement which celebrated African American culture.

Laura Wheeler Waring, one member of the group, was a painter who made portraits of African American civil rights figures, like author W.E.B. Du Bois and singer Marian Anderson.

“It shows the historical weight and significance of what Harlem artists were doing at the time,” said Murrell. “African American slavery or enslaved individuals were stereotyped and caricatured, and one thing Harlem Renaissance artists wanted to do was give dignity to black female figures, or to black figures, period.”

The other Harlem Renaissance painters in the exhibit include William H. Johnson, who captured the everyday lives of African Americans, whether it was groups of friends in urban settings to rural families, all of which tell “the critical story of modern portrayals of black figures”, said Murrell.

There are also works by Charles Alston, who was known locally for painting murals in Harlem hospitals, but was also recognized as a painter for his portraits of musicians, groups of cotton workers and family portraits. Alston is widely recognized for his bust of Martin Luther King Jr., which today sits in the White House. “He shows African Americans as the urban middle class,” said Murrell. “All aspects of life, high and low, are captured in his paintings.”

The more recent artworks in the exhibit, made over the past 50 years, are different from those, say, 100 years ago. “It’s more empowered because we now have a presence, artists of color,” she said. “You have black portraits by black artists, which broadens the range of artistic styles and strategies.”

Mickalene Thomas – Din, une très belle négresse, 2012. (Photograph: shootArt Mobile/Courtesy of the artist)

There are paintings by female artists such as Mickalene Thomas, who recently captured Cardi B for the cover of W Magazine’s art issue. In “Din, une très belle négresse,” from 2012, is a portrait of a black woman painted colorfully in retro garb.

“She takes 19th-century black women portrayals, but shows them in expressive ways, with rhinestones, afro wigs and a 1970s look,” said Murrell. “They’re women portrayed as sensual but in control of their sensuality, in a manner that shows a black woman who wants to be herself.

“And it’s not just black women, but women period, as sensual but in control of their sensuality and not just for the gaze of the presumed viewer, the white male,” adds Murrell, “You see that perspective unfolding to a more diverse group of artists and subjects of art.”

The exhibit features works by black female artists like Faith Ringgold, known for her quilts portraying black figures like Aunt Jemima, alongside Ellen Gallagher, who has cut up old advertisements of black women to offer her own perspective.

“You can see the evolution as the black figure comes closer to subjectivity, or agency, portrayed by women artists,” said Murrell, “or by showing black women in a way that’s closer to their own modes of self-representation.”

Though the black female figure in art has changed over the past 150 years, there is still progress to be made ahead. “There’s still an underrepresentation of black women artists, and black artists, in the contemporary art world,” said Murrell.

The exhibit is complete in one way, but incomplete in another. “I hope it gives a sense of history to the kind of art we look at today,” said Murrell. “There was a black presence in modern art, we see that in this show and I hope we start seeing more of it.”

Source: https://www.theguardian.com/artanddesign/2018/oct/22/matisse-to-modernity-the-evolution-of-black-female-models-in-art

Composer Jon Batiste Turns Jean-Michel Basquiat’s Life Into a Broadway Musical

Jon Batiste and Jean-Michel Basquiat. Black-and-white image of Black man in black leather jacket and shirt in front of background with text. Black-and-white image of Black man with black dredlocs in suit on white wall
Jon Batiste and Jean-Michel Basquiat. (Brad Barket/Getty Images; Andy Warhol/Colorlines Screenshot from Facebook)

Composer Jon Batiste is set to bring the life of artist Jean-Michel Basquiat to the stage via a new Broadway musical. The New Orleans-bred musician and bandleader of “The Late Show with Stephen Colbert” announced the show on Tuesday (September 25):

Deadline reports that Batiste will collaborate with stage producers Barbara and Alan D. Marks (The Encounter”) and director John Doyle (“The Color Purple” revival) on the untitled project. The team partnered with the late Haitian- and Puerto Rican-American artist’s estate, which granted rights to use his original art and personal archival material in the musical.

“Over the years, many people have approached us about telling our brother’s story on stage,” sisters Lisane Basquiat and Jeanine Heriveaux, who administer their brother’s estate, told Deadline. “But having discussed this project with the Marks over many months, our interest was piqued once we understood that their approach to telling our brother’s story treats his life, his art and his legacy with respect and passion. With Jon Batiste and John Doyle leading the creative team, we are thrilled with the possibilities. We cannot wait to begin the developmental process. Broadway is a new world for us, and we look forward to sharing our brother’s life and art.”

Batiste wants the musical to both capture Basquiat’s story and inspire other artists to channel his creative spirit.

“I want people to leave this show inspired to create. I want them to not only learn about Jean-Michel Basquiat, an innovator, but to also feel the visceral thrill of the creative process and to deepen and discover their own creativity,” he told Deadline. “We have an opportunity to tell a truly profound story, full of emotional highs and lows, with unbelievable art at the center. I’m honored to work with veteran storyteller John Doyle, the Marks and the Basquiat family. We are assembling a team to help craft a boundary pushing masterpiece inspired by a true American original.”

Source: https://www.colorlines.com/articles/jon-batiste-turns-jean-michel-basquiats-life-broadway-musical

Australian Sudanese Model Duckie Thot is Stunning New Face of L’Oréal Paris

Duckie Thot Announced as New L’Oréal Paris Global Ambassador
Duckie Thot (photo via L’Oréal Paris)

Duckie Thot, an Australian model of Sudanese descent, just put some major points on the board for inclusivity and diversity in the beauty industry. A Fenty Beauty muse, the rising star just signed on as the newest global ambassador for L’Oréal Paris.

Even with game-changing newer beauty brands constantly pushing for more diversity in the industry (Fenty Beauty’s 40-shade range of foundations was so innovative when it dropped that its foundation won Time’s “Invention of the Year” award in 2017), there are still a lot of strides to be made. Case in point: Thot, who has appeared in major campaigns for designers including Moschino and Oscar de la Renta, admitted earlier this year that she still has to bring her own foundation to shoots because makeup artists still often don’t often carry shades dark enough to match her skin.

But perhaps the more beauty brands see models like Thot, the more inclusive the industry can actually be. That certainly seems to be the hope behind Thot’s major new gig as a L’Oréal ambassador. “I’m looking forward to helping more girls love the beauty of their dark skin,” she said in a statement. “In my mind, I’m going back in time and telling the young girl I was, ‘Dream big, work hard and trust in yourself girl because one day you’re going to say ‘yes’ to the number-one beauty brand!’”

It’s Thot’s strong voice on inclusivity (in addition to her impressive-as-hell resume) that made her a perfect face for the brand, L’Oréal said. “She launched online conversations where others shared their stories,” the brand told WWD in reference to her speaking out about inequality in the modeling industry. “By speaking out, she has contributed to the redefinition of what [being] a model is. Her uplifting messages are shared to inspire her followers to love themselves.”

Thot will make her L’Oréal debut later this week on the Le Défilé L’Oréal Paris runway show during Paris Fashion Week and will be starring in upcoming campaigns for L’Oréal Volume Million Lashes, Colorista, Rouge Signature, and most notably the brand’s Infallible Foundation. We have a feeling that this time, Thot won’t have to bring her own shade.

Source: https://www.allure.com/story/duckie-thot-loreal-paris-global-ambassador?mbid=social_twitter

Valentino Dixon, 48, Gets Released from 27 Years of Wrongful Imprisonment after Gaining National Attention for Golf Course Drawings

In a May 2013 file photo, Attica (N.Y.) Correctional Facility inmate Valentino Dixon poses with one of his golf drawings he created while in prison. (Photo: AP)

by  via usatoday.com

Convicted of a crime he never committed and serving time in one of the USA’s most notorious prisons, Valentino Dixon spent much of his free time drawing serene scenes of lush golf courses.

After 27 years behind bars, Dixon, 48, walked out of the Attica (N.Y.) Correctional Facility a free man Wednesday as his murder conviction in a 1991 shooting was officially overturned.

Dixon’s case gained national attention when he was profiled six years ago by Golf Digest for his meticulous attention to detail in the colored-pencil drawings he made of courses such as Augusta National — despite never having picked up a club in his life.

“They always say I don’t need to be drawing this golf stuff,” he has said. “I know it makes no sense, but for some reason my spirit is attuned to this game.”

From there, the publication and several other groups — including the Georgetown University Prison Reform Project — began looking into the questionable circumstances surrounding his conviction.

Even though Dixon had exhausted all his appeals, the Erie County district attorney’s office eventually revisited the evidence in the case, which resulted in a confession from the real gunman.

Upon his release, Dixon said he planned to go “to Red Lobster to celebrate with my family and my support team, then we’re going to go to a park.”

More: https://www.usatoday.com/story/sports/golf/2018/09/19/golf-artist-inmate-freed-27-years-after-being-wrongfully-convicted/1363037002/

Angela Bassett and Band of Vices Gallery Curate Afro-Surrealist Art Show by Chelle Barbour

Angela Bassett (Paul Archuleta/Getty Images)

The ‘Black Panther’ star co-curates a new exhibition at Band of Vices gallery featuring Afro-Surrealist collages by artist Chelle Barbour.

by Jordan Riefe via hollywoodreporter.com

Artist Chelle Barbour’s first solo show, You Is Pretty!, at Band of Vices gallery in the West Adams district of L.A. through Oct. 13, is a photo montage series examining portrayals of African-American women in media. And if you look closely at the curator credits, one very famous name jumps out: Angela Bassett.

Longtime friend and fan of gallerist Terrell Tilford, Bassett, who serves as co-curator of Barbour’s show, frequented his gallery throughout the aughts when it was called Tilford Art Group. After closing in 2010, he rebranded as Band of Vices in 2015 and reached out to Bassett about playing a larger part. “I’ve been a lover of art for many, many years, so it was just a new venture for me. And when he introduced me to Chelle’s work, I was excited about it as well, about this young artist that I heretofore wasn’t familiar with but found her work to be really strong and really striking in many ways,” Bassett explains.

Barbour’s practice includes painting, digital video, photography, writing and curating. She collaborated on projects with Black Lives Matter at the Hollywood Forever Cemetery in 2016; and has participated in a number of group shows. But to have Bassett play a part in her first solo show is just too much, she quips.

artwork by Chelle Barbour

“When I saw her name as a curator, I was like, ‘What?!?” Barbour explains. “I have been a fan of hers for years. I’m pleased that she likes the work, that she’s seen it. Her endorsement just leaves me speechless.”

With You Is Pretty!, Barbour poses questions about agency and beauty by layering visual metaphors over imagery of black women to evoke what writer and essayist Amiri Baraka called Afro-Surrealism. The women in her collages are alluring and confident, the opposite of more common depictions emphasizing a lack of economic value, or worse, irrelevance. By incorporating motifs like butterflies, flower petals and industrial machinery, she conjures archetypes of strength and potential.

“Chelle’s work explores that notion of the other or the alien or the marginalization, but she uses the black woman as her muse,” offers Bassett. “When I, as an artist, look out into the world, I find those voices, whether it be art or music or narration, that celebrate our beauty, our being different, as a strength, as something positive.”

Read more: https://www.hollywoodreporter.com/news/angela-bassett-curating-afro-surrealist-art-show-celebrating-60th-birthday-a-list-friends-1140376

Oregon State University Changes Three Building Names That Honored Proponents of Slavery

Oregon State University buildings to be renamed (photos via cbsnews.com; facebook.com/DailyBarometer)

by Saul Hubbard via registerguard.com

After a two-year process, Oregon State University President Ed Ray announced recently that he has chosen new monikers for three university buildings whose previous namesakes have ties to historical racist positions or beliefs.

OSU’s Benton Hall will become Community Hall, honoring local residents who raised funds to start the college in 1860s and 1870s; Benton Annex, the university’s women center, will become the Hattie Redmond Women and Gender Center, after an African-American suffragette who lived in Portland in the early 20th century; and Avery Lodge will be renamed Champinefu Lodge, borrowing a word signifying “at the place of the blue elderberry” from the dialect of the local native Kalapuya Tribe.

“The names of buildings and places play a very important role in our university,” Ray said Monday in a prepared statement. “They speak to the history of OSU, the university’s values and mission, and our efforts to create an inclusive community for all. Names also recognize and honor the positive contributions of those associated with the university.”

The changes follow a push that has occurred across the country in recent years to proactively remove names and take down statues that honor people who held overtly racist views, in the name of improving race relations. Those efforts have faced blow-back from people who argue that they erase history and punish historical figures for views that were widely held during their lifetimes.

Ray decided last November that the building names associated with former Missouri U.S. Sen. Thomas Hart Benton and Corvallis co-founder Joseph C. Avery should be stripped from the buildings, following community input and scholarly research into their positions.

Hattie Redmond (photo via Ohio Historical Society)

An architect of the United States westward expansion and backer of the Manifest Destiny, Benton “supported federal legislation to remove Native Americans from their tribal lands and, while he was opposed to extending slavery into western states, he was not in favor of abolishing slavery elsewhere,” Ray wrote last November.

While the 1947 naming of Benton Hall was designed to honor Benton County residents, not Thomas Benton, Ray determined that the hall’s name didn’t make that distinction clear. Joseph Avery, meanwhile, pushed “views and political engagement in the 1850s to advance slavery in Oregon (that) are inconsistent with Oregon State’s values,” Ray wrote, making the 1966 name untenable.

Ray decided against renaming OSU’s Gill Coliseum and the Arnold Dining Center, however, after ruling that their namesakes, Benjamin Lee Arnold and Amory Gill, displayed some signs of forward-thinking racial acceptance, outweighing the more controversial parts of their biographies.

The new names announced Monday were chosen by Ray, after receiving input from OSU faculty, students and leaders of the Confederated Tribes of Siletz Indians of Oregon.

Champinefu, which is pronounced CHOM-pin-A-foo, was chosen because Native Americans of the Kalapuya Tribe traveled to the area around Corvallis to harvest wild blue elderberries.

Hattie Redmond, meanwhile, was part of the successful push in 1912 to give women the right to vote in Oregon, after voters previously had rejected it five times. According to the Oregon Historical Society, Redmond’s role was little known and not celebrated until 2012, when details of her biography were discovered during the centennial celebration of woman suffrage in Oregon. Redmond, the daughter of slaves, moved to Portland in 1880, in an era when the state still had a black exclusion law in its constitution. Redmond was the president of the Colored Women’s Equal Suffrage Association during the 1912 campaign and organized meetings and educational lectures on the issue in a local church.

Read more: http://www.registerguard.com/news/20180730/osu-changing-three-building-names-to-promote-inclusivity

Rihanna Becomes 1st Black Woman to Land Cover of British Vogue’s September Issue

photos via eveningstandard.com

by Andrea Park via cbsnews.com

Rihanna made history by becoming the first black woman to appear on the cover of British Vogue‘s September issue. Like the publication’s U.S. edition, the September issue is the most prestigious edition of the fashion magazine.

Rihanna shared her cover photo on Instagram. She’s wearing a hot pink Prada dress, Savage x Fenty gloves, a flower headdress and thin, drawn-on eyebrows a la Marlene Dietrich. The “Wild Thoughts” singer also posted photos from inside the issue, in which she dons different oversized floral headpieces.

The magazine’s editor-in-chief, Edward Enninful, styled the cover and photo shoot, and Nick Knight served as photographer. Enninful wrote in his editor’s letter that he knew he wanted the singer on the cover for the magazine’s September issue.

“I always knew it had to be Rihanna,” he wrote. “A fearless music-industry icon and businesswoman, when it comes to that potent mix of fashion and celebrity, nobody does it quite like her. No matter how haute the styling goes, or experimental the mood, you never lose her in the imagery. She is always Rihanna. There’s a lesson for us all in that. Whichever way you choose to dress the new season, take a leaf out of her book and be yourself.”

Enninful wrote that the two talked about diversity and Rihanna’s life as a diva for the accompanying profile.

British Vogue’s September issue hits newsstands today.

Source: https://www-cbsnews-com.cdn.ampproject.org/v/s/www.cbsnews.com/amp/news/rihanna-becomes-first-black-woman-to-cover-british-vogues-september-issue/

Beyoncé Hires Tyler Mitchell, 23, to Shoot Her September 2018 Vogue Cover, 1st Black Photographer in Magazine’s 126-Year History

Tyler Mitchell (photo via crybabyzine.com)

by Lori Lakin Hutcherson (@lakinhutcherson)

According to huffingtonpost.com, musical icon Beyoncé received unprecedented control over the cover of the upcoming September issue of Vogue magazine, and in turn hired Tyler Mitchell, 23, to be her photographer. Mitchell will become the first black photographer to shoot a cover in the publication’s 126-year history.

Vogue, according to two sources who are familiar with the agreement between Vogue and Beyoncé, is contractually obligated to give Beyoncé full control over the cover, the photos of her inside the magazine and the captions, which she has written herself and are in long-form. Beyoncé is also not granting Vogue a sit-down interview for the September 2018 issue, as is typical of its cover subjects.

Mitchell, a New York University graduate from Atlanta, quickly became a recognized name in the art world through his work in Cuba and his featured work on Instagram.

The New York Times’ “Up Next” series featured Mitchell in December.  Huffingtonpost.com writes that 23-year-old first gained attention in 2015 with his self-published book of photos, El Paquete, which focused on Cuban skate culture and architecture. Mitchell captured the book’s 108 photos while in Cuba for six weeks as part of a documentary photography program, according to the Times.

Mitchell also photographed Parkland shooting survivors including Sarah Chadwick, Nza-Ari Khepra, Emma Gonzalez and Jaclyn Corin for Teen Vogue’s piece on the #NeverAgain gun control movement.

“I depict black people and people of color in a really real and pure way,” Mitchell told The New York Times in December. “There is an honest gaze to my photos.”

The Good Things Black People Do, Give and Receive All Over The World
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