On February 14th, Swann Galleries in New York City is holding another auction of African American Fine Art – this blog reported on a similar auction at Swann Galleries last October 18th. Beautiful artworks by many Rosenwald fellows are up for auction, including Charles Alston, Aaron Douglas, Jacob Lawrence, Gordon Parks, William Edouard Scott, Charles White and Hale Woodruff. Prints, lithographs and sculptures by a Rosenwald fellow who died last year, Elizabeth Catlett, are prominently featured, including an excellent print of her famous Sharecropper.
Augusta Savage, who received three consecutive Rosenwald fellowships, created a monumental sculpture for the 1939 New York World’s Fair entitled “Lift Every Voice and Sing.” While the original sculpture was destroyed, lot 24 of this auction is a smaller version of the sculpture that was offered at the World’s Fair, a haunting memento of the great lost work.
By Michael Rose
One of the pleasures of producing The Rosenwald Schools has been that, even though we select our interviewees based on their knowledge on a specific topic, more often than not they surprise us with fascinating facts, anecdotes and new points of view that we weren’t previously aware of. This was very much the case with the interviews we filmed on December 11th, and we’re extremely thankful for the time and effort of the interviewees who spoke with us that day.
The Rosenwald Schools
One great surprise occurred during our interview with David Driskell, a longtime art professor and a noted artist himself. We initially reached out to Mr. Driskell because of his knowledge of African American art and Rosenwald Fund fellows (several of whom he knew personally), but it turns out he had a story to share about a Rosenwald School as well from his upbringing in rural Rutherford County, North Carolina.
In the spring of each year, we would leave our little one-room school to go down to Cliffside, North Carolina to a four-room school, which I was told was a Rosenwald school. It was a brick building, and we didn’t have any brick buildings in our area. We would go there for what we called Commencement. It had nothing to do with graduation, it actually had to do with displaying your creative skills, your oratorical skills, drawing, paintings […] and it was where I first exhibited my art made from the local clay in the brooks. (David Driskell, Dec. 11, 2012).
David Driskell (with a poster advertising his artwork in the background)
Another unexpected connection was made in our next interview, with Denise Johnson. Ms. Johnson is a descendent of Clinton Calloway, head of Tuskegee’s Extension Department and a crucial administrator of the Julius Rosenwald’s school-building program. Johnson is a resident of the Washington D.C. area, and she also shared with us that Clinton Calloway’s brother, Thomas, founded a town named Lincoln in nearby Prince George’s County, Maryland, where he organized the construction of a Rosenwald School.
It was Thomas’ idea to give African Americans at the time an opportunity to buy land to live in a community on their own. Thomas bought land and sold it in small plots to families. As the communities started to grow they needed to have a school, and it’s my understanding that the local government was not forthcoming in providing the funds for the school. Interestingly enough—and maybe not as a surprise—Thomas decided to call on the Rosenwald Fund and ask for help. (Denise Johnson, Dec. 11, 2012)
Aviva Kempner with Denise Johnson
The Lincoln Rosenwald School is one a few extant Rosenwald Schools in Prince George’s County, though it is heavily remodeled. Its current address is 5201 Baltimore Lane, Lanham, Maryland.
The 12th Street YMCA
The legacy of the Rosenwald Fund is felt even more strongly in another part of the D.C. area, where the pilot building in Rosenwald’s YMCA-building program stands in the heart of the historic African American community around U Street NW (we detailed the path the building took to construction in another blog post). In addition to shooting footage of the YMCA’s beautiful and well-preserved interior (which includes historical exhibits about the luminaries who frequented the building), we talked to the Dodsons, a father and daughter who are both experts on local history. Norris Dodson, who used the YMCA’s facilities as a young man and remains a passionate advocate for the building, spoke about the importance of passing that history on to the next generation.
When I played basketball at the 12th Street Y, I always recall having fun, making connections with people my age, learning to play fairly. But the one thing that was missing is that I was not told about the wonderful history of the building, that great basketball players played here: Elgin Baylor, John Thompson. In fact, John Thompson told us that he was discovered here. But I was never aware that John Thompson played here when I was playing. When I found that out, I was an adult. And I always thought that if I had known these guys played here, that I would have been a better basketball player, just because of that. I thought it was sad that so many kids in the neighborhood didn’t know that Dr. Drew and Thurgood Marshall and Langston Hughes and Montague Cobb and so many others who had international reputations, reputations that grew far beyond this community, all met here. If the kids of some generations had realized that, if that history had been taught to them, they would have been able to have confidence that they didn’t have and use that confidence to grow to higher levels. (Norris Dodson, Dec. 11, 2012)
Our cameraman, Michael Moser, getting some exterior shots of the YMCA
Lori Dodson, Norris’s daughter, added context to her father’s interview and also revealed a more recent connection between the 12th Street YMCA and Julius Rosenwald:
In 1982, due to the deterioration of this lovely building, it was forced to close its doors. It was a travesty because it was during a time when there were so many ills in the community, many problems among youth and drugs. It was a time, like during segregation, where this building and the type of character that it developed was sorely needed. And so a group of people came together, concerned citizens, and decided that they were going to protest the potential demolition of this building, […] a place like this that is so historically significant. […] Julius Rosenwald was key in making sure that this building was open and his family was also involved in making sure that it reopened once again. If this building were not open today then my family would have lost a lot of our personal history, and I know that that’s the case of many, many families. (Lori Dodson, Dec 11, 2012)
Lori Dodson on our set in one of the restored rooms of the YMCA
Artists of the Rosenwald Fund
Along with David Driskell, we interviewed another art history scholar, Dr. Richard Powell of Duke University. Powell is a wonderful storyteller and a fount of knowledge about Rosenwald fellows. He shared a series of backgrounds on notable beneficiaries of the Rosenwald Fund with us, including this story about sculptor and teacher Augusta Savage:
Augusta Savage is a legend in African American art history. I say that because so much of her life was filled with struggle, with perseverance and with creativity all mixed up. She comes from Florida, she settles in New York in the early 1920s. She’s working very hard to try to develop her skills as a visual artist and she’s lucky enough to win a prize that will allow her to go to France. The Fontainebleau School provides her with [this] opportunity, until they find out that [she] is African American. When word gets around through the Fontainebleau School that they are about to bring an African American to the school, they basically say, “No, we’re not going to give this award to you.” And it actually is a cause célèbre. [Later, in the early 1930s,] thanks to the Rosenwald Foundation, Augusta Savage has an opportunity to go to France. France, for artists, is like a dream come true: the opportunity to walk in the paths of other famous artists, to live a life that is liberating without people questioning or looking at you based on your race. She has a wonderful experience there. Interestingly, when she comes back to Harlem, she then shifts gears back into the community [and] puts all of her energy and effort into developing an art school, the Harlem Arts Center, as one of the places that young people like [Rosenwald fellow] Jacob Lawrence, Norman Lewis and other artists will go to learn about art. I often describe Augusta Savage’s school as a kind of latchkey school for young aspiring artists. Her school ended up being not just a place to study art, but it became kind of a community center. (Richard Powell, Dec. 11, 2012)
Savage was not the only Rosenwald fellow that went on to become a teacher and mentor to younger artists (other examples include Elizabeth Catlett, Aaron Douglas and Charles White) and we’re excited to be able to tell her story and the stories of other Rosenwald fellows in The Rosenwald Schools, and grateful to those who have lent their voices to the film.
Dr. Richard Powell
By Michael Rose
Elizabeth Catlett, a Rosenwald fellow who passed away earlier this year, serves as the inspiration and a subject of a pop-up exhibition at Washington D.C.’s Contemporary Wing gallery (1250 9th Street NW). Most of the works on display are very current, dealing with the recent Presidential election and the Arab Spring, but five of Catlett’s prints are included as well, some of which date to before Civil Rights. As Contemporary Wing explains on their website, “no treatment of political art today would be complete without acknowledging the recent passing of African American printmaker and sculptor, Elizabeth Catlett, whose famous images Sharecropper and Malcolm X Speaks for Us in the 1960s and 70s, among numerous others, underlie the history of a nation currently deciding whether to re-elect its first African American president.”
On this blog in April we described Catlett’s work under her 1946 and 1947 Rosenwald fellowships, which came at an extremely significant time in her career. The artworks on display at Contemporary Wing were the result of the printmaking phase of her career that she began in Mexico in the 1940s and continued for the rest of her life.
If you’re in the Washington D.C. area make sure to visit Contemporary Wing some time soon – the exhibit lasts only until November 24th. You can find more information on their website.
A couple weeks ago, a new exhibit featuring 47 works by the great painter and print-maker Charles White went on display at the Art Museum on North Carolina Central University campus.
White was a native Chicagoan who studied at the Art Institute of Chicago. After graduation, he joined the Federal Arts Project of the Works Progress Administration, and produced one of the WPA’s best known murals entitled “Five Great American Negroes.” The mural, which features Sojourner Truth, Booker T. Washington, Frederick Douglass, George Washington Carver and Marian Anderson was originally installed in the George Cleveland Hall Library on Michigan Boulevard in Chicago. This historic library is located just one block from the Rosenwald Apartments and was built on land donated by Julius Rosenwald to the Chicago Public Library. Today, the mural resides in the Law Library at Howard University.
“Five Great American Negroes,” by Charles White
Photo credit: Federal Arts Project of Works Progress Administration
Shortly after completing “Five Great American Negroes,” in 1942 and 1943, White received consecutive Rosenwald grants that allowed him to travel the south and study art. Around the same time, White married another Rosenwald fellow Elizabeth Catlett.
Admission to the museum is free and the exhibit will be on display until December 21st.
By Michael Rose
On October 18th, Swann Galleries in New York will hold an auction of African American Fine Art. Among the lots for sale are prints, paintings and sculptures by 11 Rosenwald fellows: Charles Alston, Richmond Barthé, Elizabeth Catlett, Eldzier Cortor, Lawrence Arthur Jones, Ronald Joseph, Jacob Lawrence, William Eduoard Scott, Charles Sebree, Charles White and Hale Woodruff. One highlight is a print of Catlett’s iconic Sharecropper. Also interesting is Eldzier Cortor’s Classical Composition No. 4., which is estimated to go for the highest price in the auction. Rosenwald Fund grants often allowed artists the opportunity to study and work abroad (for example, see Augusta Savage or Elizabeth Catlett’s work). William Eduoard Scott’s When the Tide is Out is another example – it was done on his 1931 trip to Port-au-Prince, Haiti under his Rosenwald fellowship.
By Michael Rose