Art

AFRO Exclusive: Area Artist Highlights Black Georgetown, Receives Award from Arena Stage

THE AFRO — An area artist, Lindsey Brittain Collins, has dedicated much of her career to examining topics of economic and social issues through art and is now being honored as an “Emerging Leader,” by Arena Stage at their annual gala.

Published

6 years ago

May 21, 2019

Oakland Post

By Micha Green

An area artist, Lindsey Brittain Collins, has dedicated much of her career to examining topics of economic and social issues through art and is now being honored as an “Emerging Leader,” by Arena Stage at their annual gala on May 21.

Brittain Collins will receive the “Emerging Leader Award” at the Mead Center for American Theater, 1101 Sixth Street, S.W.

Brittain Collins will be awarded alongside National Public Radio’s Nina Totenberg, who will be presented the “Beth Newburger Schwartz Award,” and legendary actress Katherine Turner will headline the event and host an intimate reception the evening before.

“I’m glad I’m being recognized for the work that I’m doing and I’m super excited that the focus is on the arts. I think at a time where more and more arts are being pulled from schools and programs are losing funding, it’s important to encourage community engagement and encourage exposure to the arts,” Brittain Collins told the AFRO in an exclusive interview. “Arena Stage does a fantastic job doing that, and it’s exciting that all the proceeds from the gala will go back to their community engagement program.”

Brittain Collins looks to the community for inspiration for her work.

I’m a visual artist, primarily a painter, but I also work in sculpture, installation and collage, but generally categorize my work as paintings. And my work is really the intersection – economics and race – are the topics I focus on the most,” she said. “So my background actually academically is in business and in economics, and sociology, so I leverage my academic background in that, to examine economic and social issues through painting. And a big focus in my work since moving back to the D.C. area has been gentrification.”

The D.M.V. native was shocked about the major gentrification in the area.

“I’m originally from this area and then left when I was younger, came back, and just seeing how much things have changed since I was here many years ago to now really sparked an interest and a focus on telling the narratives on the people and the communities that have been displaced as the city has evolved and become more gentrified,” she told the AFRO.

One of the areas Brittain Collins chose to examine was Georgetown, now known as a traditionally, White affluent neighborhood.

“My latest series, it’s called “No Name in the Street,” inspired by James Baldwin’s work, unearthed the lost Black history of Georgetown. Georgetown used to be a predominantly Black neighborhood and nobody knows that. Georgetown does nothing to feature the Black history that was there,” she said. “They’ve done a pretty good job in isolating themselves from the city. They wouldn’t let the metro come there because they wanted to keep certain populations out, and Georgetown has a certain reputation about the type of crowd that is there, and that does not include Blacks and Black history.”

It took some exploring in Georgetown for Brittain Collins to learn more about Georgetown’s Black history.

“I was kind of walking around Georgetown, and I discovered behind some new condo buildings, a slave graveyard and the graveyard is broken into two parts. So there’s like a beautiful part of the graveyard, it’s well kept, that’s where all the White folks are buried, and a part that’s rundown, that the people that live in the condo kind of use as a dog park- but that’s where slaves were buried. And turns out, that area was actually a stop on the Underground Railroad, which is fantastic, but nobody knows about it.”

Unearthing such stories is why Brittain Collins’ work has been so well received and is now being recognized by Arena Stage.

“You’re going into Dean and Deluca or you’re going into this bank, not realizing the rich history that was there. So through my work I try to tell those stories and share that history. And I think people who are excited to learn new things and understand more about the history of the city that they live in- or the capital of our country,” Brittain Collins told the AFRO.

“That’s why this work is important and that’s why I’m so passionate about it. The arts are important because they have the capacity to reach a broader audience.”

The artist, who also serves on the Art & Architectural Review Board for the state of Virginia, said she would continue to be stimulated by the area.

“Being in the space is really inspiring and fuels the research, so while I’m here, I’m going to continue to push that work forward,” she said.

Yet once the artist and scholar moves to New York City to begin her MFA program at Columbia University this fall, she hopes to be inspired by factors in her new community and continue creating.

“I have to make work… It’s something I have to do, and it’s the only way I know how to communicate and express myself.”

For more information on the gala visit arenastage.org/gala. To purchase an individual ticket or table, contact Maria Corso at 202-600-4025 or email RSVP@arenastage.org or for corporate sponsorship packages contact Char Manlove-Laws at 202-600-4030 or email cmanlove-laws@arenastage.org.

This article originally appeared in The Afro.

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Brown University Professor and Media Artist Tony Cokes Among MacArthur Awardees

When grants were announced earlier this month, it was noted that seven of the 22 fellows were African American. Among them are scholars, visual and media artists a poet/writer, historian, and dancer/choreographer who each receive $800,000 over a five-year period to spend as they see fit. Their names are Ruha Benjamin, Jericho Brown, Tony Cokes, Jennifer L. Morgan, Ebony G. Patterson, Shamel Pitts, Jason Reynolds, and Dorothy Roberts. This is the third in the series highlighting the Black awardees.

Published

2 weeks ago

November 4, 2024

Oakland Post

Tony Cokes. Photo courtesy of the John D. and Catherine T. MacArthur Foundation

Special to The Post

Tony Cokes

Tony Cokes, 68, is a media artist creating video works that recontextualize historical and cultural moments. Cokes’s signature style is deceptively simple: changing frames of text against backgrounds of solid bright colors or images, accompanied by musical soundtracks.

Cokes was born in Richmond, Va., and received a BA in creative writing and photography from Goddard College in 1979 and an MFA from Virginia Commonwealth University in 1985. He joined the faculty of Brown University in 1993 and is currently a professor in the Department of Modern Culture and Media.

According to Wikipedia, Cokes and Renee Cox, and Fo Wilson, created the Negro Art Collective (NAC) in 1995 to fight cultural misrepresentations about Black Americans.^[^5]

His work has been exhibited at national and international venues, including Haus Der Kunst and Kunstverein (Munich); Dia Bridgehampton (New York); Memorial Art Gallery University of Rochester; MACRO Contemporary Art Museum (Rome); and the Carpenter Center for the Visual Arts (Harvard University), among others.

Like a DJ, he samples and recombines textual, musical, and visual fragments. His source materials include found film footage, pop music, journalism, philosophy texts, and social media. The unexpected juxtapositions in his works highlight the ways in which dominant narratives emerging from our oversaturated media environments reinforce existing power structures.

In his early video piece Black Celebration (A Rebellion Against the Commodity) (1988), Cokes reconsiders the uprisings that took place in Black neighborhoods in Los Angeles, Detroit, Newark, and Boston in the 1960s.

He combines documentary footage of the upheavals with samples of texts by the cultural theorist Guy Debord, the artist Barbara Kruger, and the musicians Morrisey and Martin Gore (of Depeche Mode).

Music from industrial rock band Skinny Puppy accompanies the imagery. In this new context, the scenes of unrest take on new possibilities of meaning: the so-called race riots are recast as the frustrated responses of communities that endure poverty perpetuated by structural racism. In his later and ongoing “Evil” series, Cokes responds to the rhetoric of the Bush administration’s “War on Terror.”

Evil.16 (Torture.Musik) (2009–11) features snippets of text from a 2005 article on advanced torture techniques. The text flashes on screens to the rhythm of songs that were used by U.S. troops as a form of torture.

The soundtrack includes Metallica’s “Enter Sandman” and Britney Spears’s “… Baby One More Time,” songs known to have been played to detainees at deafening decibel levels and on repeated loops. The dissonance between the instantly recognizable, frivolous music and horrifying accounts of torture underscores the ideological tensions within contemporary pop culture.

More recently, in a 2020 work entitled HS LST WRDS, Cokes uses his pared-down aesthetic to examine the current discourse on police violence against Black and Brown individuals. The piece is constructed around the final words of Elijah McClain, who was killed in the custody of Colorado police. Cokes transcribes McClain’s last utterances without vowels and sets them against a monochromatic ground. As in many of Cokes’s works, the text is more than language conveying information and becomes a visualization of terrifying breathlessness. Through his unique melding of artistic practice and media analysis, Cokes shows the discordant ways media color our understanding and demonstrates the artist’s power to bring clarity and nuance to how we see events, people, and histories.

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A Prolific Painter: Artist and Advocate Lois Mailou Jones

Lois Mailou Jones was a prominent African American artist whose career spanned more than seven decades, from the Harlem Renaissance to the modern art movement. She was not only a prolific painter but also an influential educator, bridging cultural gaps and challenging stereotypes through her vibrant and diverse works.

Published

3 weeks ago

October 29, 2024

Oakland Post

Courtesy of National Archives, Washington, D.C.

By Tamara Shiloh

Her unique journey of self-expression, dedication to art, and advocacy for African American and African themes made her a crucial figure in the evolution of American art.

Jones was born on Nov. 3, 1905, in Boston. Raised in an intellectual and supportive family, she demonstrated an early interest in art, encouraged by her mother, who believed in the importance of creativity. Lois studied at the School of the Museum of Fine Arts, Boston, where she faced racial challenges but persisted in pursuing her passion.

Her pursuit of higher education led her to the prestigious Design Art School, where she perfected her skills in textile design. Later, Jones attended Harvard University and received further training at the Académie Julian in Paris. This European experience greatly influenced her style and broadened her perspective on art.

Jones’s career began in textile design, creating works that were used by leading textile companies. However, her true passion was painting. During the Harlem Renaissance, she moved away from textile design to focus on fine art, exploring themes that reflected her heritage and the African diaspora.

Her early works were influenced by European Post-Impressionism, featuring landscapes and still life, but Jones’s style evolved over time. After spending time in Haiti, she was deeply inspired by Caribbean culture, and her palette became more vivid, her subject matter more symbolic. The influence of African and Caribbean culture is evident in her later works, where she used bright colors and geometric patterns to convey the spirit and stories of the people she encountered.

Her contributions to African American art were significant during a time when Black artists struggled for recognition. She often focused on themes of African heritage, pride, and unity, blending African illustrations and portraits with Western artistic techniques to create a unique visual language that celebrated Black culture.

She was also a dedicated educator. She began her teaching career at Palmer Memorial Institute in North Carolina and later became a professor at Howard University in Washington, D.C., where she taught for almost 50 years. Through her teaching, she influenced generations of young Black artists, encouraging them to explore and express their cultural heritage through art.

In the 1930s and 1940s, she worked to exhibit her work alongside other Black artists, helping to create a platform for voices that had long been excluded from mainstream galleries.

Recognition and Legacy

Jones achieved significant recognition throughout her lifetime, both in the United States and internationally. She exhibited her work across the globe, including in Paris, Africa, and the Caribbean.

Jones continued painting until her death in 1998, leaving behind a rich legacy of artistic achievements and contributions to art education. She broke boundaries by celebrating Black identity and heritage at a time when these themes were often marginalized.

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At Oakland Symphony’s 2024-25 Season Opening, Music Director Kedrick Armstrong Will Make History

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland. Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Published

1 month ago

October 22, 2024

Oakland Post

Music Director Kedrick Armstrong. Photo by Scott Chernis.

By Oakland Post Staff

Music Director Kedrick Armstrong will make history with his debut performance at the Oakland Symphony’s 2024-25 Season Opening Concert on Oct. 18, at 8 p.m. at the Paramount Theatre in Oakland.

Armstrong, who is from Georgetown, South Carolina, is the ninth music director in the organization’s almost 100-year-history. His appointment follows in the footsteps of the late Oakland Symphony Music Director and Conductor Michael Morgan.

Armstrong, 30, is not a new face to Oakland as he has been an active partner with the Oakland Symphony over the last few years both on and off-the-stage.

From 2022-24, Armstrong led three Oakland Symphony programs and guest-conducted the orchestra, showcasing his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.

On his Oakland Symphony subscription debut on Feb. 16, Kedrick led the World Premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

On April 16, 2023, Armstrong conducted the Oakland Symphony’s Family Hype concert, presented in partnership with Ronald McDonald House Charities of the Bay Area. Armstrong first led the orchestra for a free “Summerstage at City Hall” concert at Oakland City Hall on Aug. 4, 2022.

The music program “Kedrick Armstrong Inaugural Inextinguishable Oakland!” will include commissioned works from master drummer Allison Miller and Bay Area artists – Ethiopian artist Meklit and Latin percussionist John Santos – in celebration of Living Jazz’s 40th anniversary.

Oct. 18 musical program:

Julia Perry: A Short Piece for Orchestra

Celebrate the 40-Year Anniversary of Living Jazz with three jazz-rooted compositions.

“Valley of the Giants” (for Eddie Marshall); Allison Miller, composer; arranged and orchestrated by Todd Sickafoose. Featured artist: Allison Miller, Drum Set; guest artist: Dayna Stephens, Saxophone.

Medley: “Ethio Blue, My Gold, Stars in a Wide Field”

Songs and Lyrics by Meklit; arrangement and orchestration by Sam Bevan. Featured artist: Meklit, Vocals; guest artists: Sam Bevan, Bass, Colin Douglas, Drumkit, Marco Peris Coppola, Tupan/Percussion.

“Un Levantamiento (An Uprising)”

Composer, percussion: John Santos; arrangers: Saul Sierra and John Santos. Featured artist: John Santos, güícharo, bongo; guest artists: Pedro Pastrana, Puerto Rican cuatro; Maria Cora, spoken word.

Carl Nielsen: Symphony No. 4, “The Inextinguishable”

Pre-concert talk by John Kendall Bailey begins at 7:05pm.

For tickets, go to: https://oaklandsymphony.my.salesforce-sites.com/ticket/#/events/a0SUu0000001rYXMAY