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Burnt Sienna, A Creative Passion & The Identity of An Artist: Charisa Dene Jacobs

OKLAHOMA EAGLE — In Charisa Dene Jacobs’ “Heritage,” “Beloved,” and “Sanctuary” collections, the underlying and grounding effect of burnt sienna is one aspect of the Tulsa, Oklahoma artist’s identity. Her bold brushwork, apparent connection to subjects and expressive application of color equally inform her mark. 
The post Burnt Sienna, A Creative Passion & The Identity of An Artist: Charisa Dene Jacobs first appeared on BlackPressUSA.

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By Ross D. Johnson | Oklahoma Eagle

Identity, through art, is seldom accomplished with intent.

Applied brushwork, the effect of technique, scale, pigment, and preferred subjects may engender a sentiment or feeling from the observer, yes, but an artist’s identity is slower to evolve.

The Messengers, 2020 | Oil on Canvas | 48 x 48 inches. Photo Charisa Dene Jacobs

The Messengers, 2020 | Oil on Canvas | 48 x 48 inches. Photo Charisa Dene Jacobs

An artist, sadly, may enjoy a life of profound creativity, pleasures, trials, and celebrations, yet be denied a broadly recognized identity.

In Charisa Dene Jacobs’ “Heritage,” “Beloved,” and “Sanctuary” collections, the underlying and grounding effect of burnt sienna is one aspect of the Tulsa, Oklahoma artist’s identity. Her bold brushwork, apparent connection to subjects and expressive application of color equally inform her mark.

Jacobs’ identity isn’t simply a mark of consistency or recognition. Each work and series, shared Jacobs, is “my own personal journey of identity. A diary of…. how I am navigating through life.”

Madame x Josephine 

Josephine Baker, 2020 | Oil On Canvas | 48 x 36 inches. By Charisa Dene Jacobs

Josephine Baker, 2020 | Oil On Canvas | 48 x 36 inches. By Charisa Dene Jacobs

“An expression of the romantic,” as described by Jacobs, “Madame x Josephine” (2020) is the result of what occurs when you “make it your own.”

Inspired by the works of John Singer Sargent and vintage photographs of Black Americans, Jacobs has created twelve works for the collection. Charisa’s “Madame X” appears to have evolved the late 19th century signature work of Sargent, producing a contemporary subject, Madame Pierre Gautreau. Absent is the pale-skinned, powdered visage of the Parisian socialite, reimagined is a work that continues to draw attention to Gautreau’s hourglass figure and free spirit.

“Josephine Baker” and “Josephine Baker II” (2020), the eponymously titled works of the collection, are striking representations of the iconic American-born French dancer, singer and actress who was the first Black woman to star in a major motion picture. Baker’s countenance, in both works, is a key focal point, possessing a depth of passion, challenge and triumph.

Josephine Baker II, 2020 | Oil On Canvas | 48 x 36 inches. By Charisa Dene Jacobs

Josephine Baker II, 2020 | Oil On Canvas | 48 x 36 inches. By Charisa Dene Jacobs

“Black Man in Suit,” Jacobs’ work dedicated to her father, Claude Jerome Jacobs Jr., and the beloved Sidney Poitier, reflects the artist’s personification of being a “classy man.” Meaningful beyond cliché, “a classy man,” as depicted through Poitier’s roles, and certainly Jacobs Jr. life, was and is committed to encouraging the best of humanity, an enduring and selfless pursuit of justice and being unshaken by the challenges related these pursuits.

Black Man in Suit, 2020 | Oil On Canvas | 48 x 36 inches. By Charisa Dene Jacobs

Black Man in Suit, 2020 | Oil On Canvas | 48 x 36 inches. By Charisa Dene Jacobs

In a wool and patterned waistcoat, breaking beneath a burnt sienna tie, framed by a neutral-colored jacket of the era, Jacobs’ “Black Man In Suit” is an iconic figure admired by all.

The Black American Cowboy 

After a Day’s Work, The Black American Cowboy, 2022 | Oil On Canvas | 60 X 48. By Charisa Dene Jacobs

After a Day’s Work, The Black American Cowboy, 2022 | Oil On Canvas | 60 X 48. By Charisa Dene Jacobs

The Maverick , 2022 | 48 X 36 | Oil On Canvas. By Charisa Dene Jacobs

The Maverick , 2022 | 48 X 36 | Oil On Canvas. By Charisa Dene Jacobs

William (Humpty) Whayne Jr. (2022) Tie-Down Calf Roper from Oklahoma | Oil on Canvas. By Charisa Dene Jacobs

William (Humpty) Whayne Jr. (2022) Tie-Down Calf Roper from Oklahoma | Oil on Canvas. By Charisa Dene Jacobs

“There are certain things that I must do, Black American Cowboy” is one such collection, shared Charisa, who embraces the power of identity and its ability to positively shape the perceptions of all people.

The “Black American Cowboy”, a collection of history-inspired works exhibited in the Vast Bank N. Elgin Avenue office lobby in April 2024, frames each subject with Jacobs’ signature burnt sienna brushwork. Placed upon the warm palette of Oklahoma’s midday skies and grasslands each Black American Cowboy is a source of story and personal narrative. Each subject of great physical structure.

“After a Day’s Work” (2022) and “The Maverick” (2022) reflect Jacobs’ application of color with a perceived intent to ground subjects, center the men of her work, and often appear to be marks of their spirit or passion. Accented by tints and shades denim or canvas blue, and a red hue of puce, Black American Cowboys appear as both icons and common upon canvases.

Jacobs offers viewers context about the collection, sharing that “research shows that 25 to 30 percent of American Cowboys were Black American,” insight fully substantiated by historians like Kenneth Porter.

William (Humpty) Whayne Jr., a subject of Jacobs’ “The Black American Cowboy” collection, is a North Tulsa professional rodeo competitor who she describes as adding “an authentic masculine beauty” to her work. Whayne Jr.’s inclusion in the collection, cast before a background of an early Oklahoma sky above his family’s roping arena, reflects a sincere effort to offer viewers a greater sense of the past, present and future of “The Black American Cowboy.”

The Beloved Collection 

Beloved (Sanctuary), 2021 | 60 x 48 inches | Oil On Canvas. By Charisa Dene Jacobs

Beloved (Sanctuary), 2021 | 60 x 48 inches | Oil On Canvas. By Charisa Dene Jacobs

The Bride Oil on Canvas 60X48. By Charisa Dene Jacobs

The Bride Oil on Canvas 60X48. By Charisa Dene Jacobs

“A casting away of the stigma of shame often attached to the female nude form and celebrating her as a holy creation” is the stated foundation of Jacobs’ “Beloved” collection. The artist’s work is a welcomed symphony of mood and palette, framed in hues of green and red, centered by subjects unbound, free from stereotype, public perception and forced role.

“Sanctuary,” speculatively, because of the linear perspective effected by the tapered cloud background, the throw that rests beneath her which drapes out of frame and the negative space created between the arm of the couch and the pillows that adorn it, underscore a subject that appears simply beloved.

Jacobs’ work, throughout the collection, is stunning. The signature application of burnt sienna is present, yes, but far less conspicuous, a compliment to her ability to draw viewer’s attention to subjects.

We know now… 

Charisa Dene Jacobs’ work, so closely aligned with her life’s journey, passions upon canvas, challenges, accomplishments and shared discoveries are framed by an identity… A familiarity born of brushwork, hue, tone and shade.

The casual art observer, a place that most occupy, may be assured that the relationship between burnt sienna and Jacobs is one of identity.

The casual art observer may be assured an identity of bold statements, profound beauty and heritage.

An identity of sincere passion and creativity.

An identity worthy of embrace.

Burnt sienna.

The post Burnt Sienna, A Creative Passion & The Identity of An Artist: Charisa Dene Jacobs first appeared on BlackPressUSA.

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Remembering George Floyd

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OP-ED: Oregon Bill Threatens the Future of Black Owned Newspapers and Community Journalism

BLACKPRESSUSA NEWSWIRE — Nearly half of Oregon’s media outlets are now owned by national conglomerates with no lasting investment in local communities. According to an OPB analysis, Oregon has lost more than 90 news jobs (and counting) in the past five years. These were reporters, editors and photographers covering school boards, investigating corruption and telling community stories, until their jobs were cut by out-of-state corporations.

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By Dr. Benjamin F. Chavis, Jr.
President and CEO, National Newspaper Publishers Association

For decades, The Skanner newspaper in Portland, the Portland Observer, and the Portland Medium have served Portland, Oregon’s Black community and others with a vital purpose: to inform, uplift and empower. But legislation now moving through the Oregon Legislature threatens these community news institutions—and others like them.

As President and CEO of the National Newspaper Publishers Association (NNPA), which represents more than 255 Black-owned media outlets across the United States—including historic publications like The Skanner, Portland Observer, and the Portland Medium—l believe that some Oregon lawmakers would do more harm than good for local journalism and community-owned publications they are hoping to protect.

Oregon Senate Bill 686 would require large digital platforms such as Google and Meta to pay for linking to news content. The goal is to bring desperately needed support to local newsrooms. However, the approach, while well-intentioned, puts smaller, community-based publications at a future severe financial risk.

We need to ask – will these payments paid by tech companies benefit the journalists and outlets that need them most? Nearly half of Oregon’s media outlets are now owned by national conglomerates with no lasting investment in local communities. According to an OPB analysis, Oregon has lost more than 90 news jobs (and counting) in the past five years. These were reporters, editors, and photographers covering school boards, investigating corruption, and telling community stories, until their jobs were cut by out-of-state corporations.

Legislation that sends money to these national conglomerate owners—without the right safeguards to protect independent and community-based outlets—rewards the forces that caused this inequitable crisis in the first place. A just and inclusive policy must guarantee that support flows to the front lines of local journalism and not to the boardrooms of large national media corporations.

The Black Press exists to fill in the gaps left by larger newsrooms. Our reporters are trusted messengers. Our outlets serve as forums for civic engagement, accountability and cultural pride. We also increasingly rely on our digital platforms to reach our audiences, especially younger generations—where they are.

We are fervently asking Oregon lawmakers to take a step back and engage in meaningful dialogue with those most affected: community publishers, small and independent outlets and the readers we serve. The Skanner, The Portland Observer, and The Portland Medium do not have national corporate parents or large investors. And they, like many smaller, community-trusted outlets, rely on traffic from search engines and social media to boost advertising revenue, drive subscriptions, and raise awareness.

Let’s work together to build a better future for Black-owned newspapers and community journalism that is fair, local,l and representative of all Oregonians.

Dr. Benjamin F. Chavis Jr., President & CEO, National Newspaper Publishers Association

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Hate and Chaos Rise in Trump’s America

BLACKPRESSUSA NEWSWIRE — Tactics ranged from local policy manipulation to threats of violence. The SPLC documented bomb threats at 60 polling places in Georgia, traced to Russian email domains.

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By Stacy M. Brown
Black Press USA Senior National Correspondent

The Southern Poverty Law Center has identified 1,371 hate and antigovernment extremist groups operating across the United States in 2024. In its latest Year in Hate & Extremism report, the SPLC reveals how these groups are embedding themselves in politics and policymaking while targeting marginalized communities through intimidation, disinformation, and violence. “Extremists at all levels of government are using cruelty, chaos, and constant attacks on communities and our democracy to make us feel powerless,” said SPLC President Margaret Huang. The report outlines how hard-right groups aggressively targeted diversity, equity, and inclusion (DEI) initiatives throughout 2024. Figures on the far right falsely framed DEI as a threat to white Americans, with some branding it a form of “white genocide.” After the collapse of Baltimore’s Francis Scott Key Bridge, a former Utah legislator blamed the incident on DEI, posting “DEI = DIE.”

Tactics ranged from local policy manipulation to threats of violence. The SPLC documented bomb threats at 60 polling places in Georgia, traced to Russian email domains. Similar threats hit Jewish institutions and Planet Fitness locations after far-right social media accounts attacked them for trans-inclusive policies. Telegram, which SPLC describes as a hub for hate groups, helped extremists cross-recruit between neo-Nazi, QAnon, and white nationalist spaces. The platform’s lax moderation allowed groups like the Terrorgram Collective—designated terrorists by the U.S. State Department—to thrive. Militia movements were also reorganized, with 50 groups documented in 2024. Many, calling themselves “minutemen,” trained in paramilitary tactics while lobbying local governments for official recognition. These groups shared personnel and ideology with white nationalist organizations.

The manosphere continued to radicalize boys and young men. The Fresh & Fit podcast, now listed as a hate group, promoted misogyny while mocking and attacking Black women. Manosphere influencers used social media algorithms to drive youth toward male-supremacy content. Turning Point USA played a key role in pushing white nationalist rhetoric into mainstream politics. Its leader Charlie Kirk claimed native-born Americans are being replaced by immigrants, while the group advised on Project 2025 and organized Trump campaign events. “We know that these groups build their power by threatening violence, capturing political parties and government, and infesting the mainstream discourse with conspiracy theories,” said Rachel Carroll Rivas, interim director of the SPLC’s Intelligence Project. “By exposing the players, tactics, and code words of the hard right, we hope to dismantle their mythology and inspire people to fight back.”

Click here for the full report or visit http://www.splcenter.org/resources/guides/year-hate-extremism-2024.

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