Anyone on June 27, 2019, attending the opening of the Suzanne Jackson Five Decades retrospective at the Telfair Museums' Jepson Center for the Arts in Savannah, Georgia (USA), or involved in its production prior to that historic evening, could tell something exceptional was happening. In addition to the mesmerizing kind of vibrant textiles and stunning canvases one might expect to discover at such an opening for a contemporary artist, there were seven vitrines (display cases) filled with family photographs, vintage 1960s flyers advertising a "Revolutionary Art Exhibit," sketchbooks, program notes, letters, photographs, and other revealing archival materials from different chapters of Jackson's, and America's, life stories.
The items made available went beyond career highlights to illuminating an artist's considerable immersion in a significant historical moment: the 1960s-1970s Black Arts Movement as it rooted and flowered in Los Angeles and San Francisco, California. For those observers of African-American history who contend America's West Coast contributed much less to the Harlem Renaissance than other regions because it lacked, during the 1920s-1940s, a heavy representation of the traditions and institutions then associated with Black culture in the South, the 1960s may be considered the bridge which connected history and geography.
Ideas of how and why that might be the case, within the context of Five Decades, first struck me as apparent while listening to the on-stage conversation between Jackson, fellow artist Alonzo Davis, and Telfair Museums curator Rachel Reese. Jackson's and Davis's stories of establishing art galleries in downtown Los Angeles, building a sustainable cultural arts community, and balancing commitments to careers and political struggle with commitments to family life were not completely unlike what we find in the life stories of East Coast predecessors like Lois Mailou Jones and Augusta Fells Savage.
This observation does not contradict the contexts of ecowomanism and black feminist ethics contexts in which the brilliant essays by Reese, julia elizabeth neal, Melanee C. Harvey, and Tiffany E. Barber place Jackson's work in the forthcoming Five Decades catalog. It simply acknowledges one more powerful aspect of the place she now occupies as an influential contemporary artist of historical importance. In her foreword to the catalog, artist Betye Saar alludes to the significance of Jackson's role as someone whose art and advocacy have bridged gaps:
"In the 1960s, black artists in Los Angeles were struggling to be recognized. Some public venues had integrated exhibitions, but generally speaking black artists were ignored... Suzanne made a concrete imprint when she opened Gallery 32 on Lafayette Park Place..." (Appropriately enough, work by the 93-year-old Saar herself is currently undergoing a kind of revival with forthcoming solo shows at the Los Angeles County Museum of Art and the Museum of Modern Art in New York City.)
After Jackson's, Davis's, and Reese's dynamic conversation, the feeling when walking among the dozens of artworks hung with dazzling appeal in the Steward North and Kane Galleries, absorbing the full impact of the actual exhibit, was like glimpsing a long-hidden priceless American treasure. Those who have yet to treat themselves to the experience still have until October 13, 2019, to do so at the Jepson. Just as importantly, the exhibition catalog is due out September 25 and orders for it are being accepted now.
Continental Crossings & Fortuitous Connections
My journey toward the almost magical evening of June 27 actually began on August 28, 2004, when Ms. Jackson attended my "Harlem Renaissance in Savannah" lecture and book signing at the Carnegie Branch Library in Savannah. Since relocating to the city eight years earlier, she had been surprised to discover the African-American cultural arts scene was as vibrant as it was and included someone who had co-authored (with the late Sandra L. West) the groundbreaking Encyclopedia of the Harlem Renaissance.
I was surprised and impressed to learn she had lived on the West Coast--just as I had in San Francisco--and now taught at the Savannah College of Art & Design (SCAD). If I'd had the slightest prophetic clue of the visual marvels that would be revealed 15 years later, I would have been flat-out amazed.
Mounted wall screen showing video images from life and career of artist and educator Suzanne Jackson. The video was part of the opening for Jackson's Five Decades Retrospective at the Telfair Museums Jepson Center for the Art in Savannah, Georgia, on June 27, 2019. (Bright Skylark Literary Productions photograph by Aberjhani ©2019)
That early meeting was genuinely fortuitous because in those days my responsibilities as a caregiver had already started to limit participation in public events. I nevertheless did make it out occasionally and during the years which followed the lecture our paths crossed enough for an acquaintance to become a friendship. As it turned out, we had more than the cultural arts and California in common. We had both also spent time in Fairbanks, Alaska--she as a child growing up there and me some years later as a U.S. military journalist.
We came to know many of the same creatives and shared enthusiasm over their triumphs. Grief, too, demanded acknowledgement when experiencing the loss of such individuals as painter Allen M. Fireall (1954-2014), his fellow artist and friend Luther E. Vann (1937-2016), and author-educator Ja A. Jahannes (1942-2015). More personal, more blood-connected losses inserted themselves into the stories of our individual lives as well, both stalling and fueling painted poems and poemized visions that would manifest in coming years.
NEXT: A Hidden American Treasure Comes to Revelatory Light (part 2): Jazz, Art, & Partying
author of Dreams of the Immortal City Savannah
and Songs from the Black Skylark zPed Music Player
The original subject scheduled for this post was the 100th anniversary of the "Harlem Hellfighter's" celebratory parade through New York City in February, 1919, following the United States' and allies' successful campaign to end World War I in Europe. For the African Americans who comprised the unit, participation had meant another step toward gaining racial equality and ending unwarranted violence against them at home. With Black History Month only a couple of weeks away and commemorations of the Harlem Renaissance Centennial now kicking off around the globe, the subject would have been timely and appropriate.
However: just as humanity had to address the impact of various forms of violence--such as war, lynching, and race riots--during the Jazz Age Harlem Renaissance, we find ourselves doing the same in 2019, an entire century later. Too often, the casualties you might anticipate hearing about are not the military personnel or police officers who confront danger as part of their profession. They tend to be children in school classrooms, at parties, attending concerts, playing in front yards, immigrating from one oppressive situation to another, or just nestled at home among family members assumed to be dedicated to their safety and wellness.
The beauty of all they were or may have become is gone in the flash of one horrific moment. Rather than revisit yet again the question of why so many of us exercise so little compassion toward children and disregard the potential inherent in every child, I launched the Kaleidoscope Moons Art Series as one way to reclaim with compassion the beauty of lives lost too soon.
A New Perspective on an Old Wound
How to survive and cope with grief over the loss of an offspring is a dilemma I began exploring as a writer through poems in my first book, I Made My Boy Out of Poetry, and then later in essays in The American Poet Who Went Home Again. As the year 2019 slowly gains momentum, I am viewing the subject through a distinctly 21st century lens and re-engaging it as a visual artist via the Kaleidoscope Moons series. Why at this precise time? Largely because of what I expressed in these notes on the series:
STORY BEHIND THE SERIES
The American media has proclaimed the heroics of 13-year-old Jayme Closs for managing after three months to escape her kidnapper. However, she lost her parents to the abductor's shotgun blasts and in that instant experienced the destruction of her childhood. Clearly the concept of compassion held no meaning for him and a civilized society is obligated to reflect on possible reasons why.
What roles, for example, might the glamorization of hatred and sustained monetization of war play in Closs's abductor's choice to ignore the excruciating pain he would cause a child and her family? How did institutionalized practices which place the well-being of children toward the lower end of any list of priorities possibly intensify his nihilism? When reflecting on likely answers, this much becomes clear: the degree to which any given individual might be held accountable for helping maintain a culture of indifference and, by doing so, contribute to the malevolent destruction of human life is a consideration which can no longer be avoided.
NEXT: Kaleidoscope Moons Reclaim with Compassion the Beauty of Lives Lost Too Soon Part 2
Founder of the 100th Anniversary of the Harlem Renaissance Initiative and creator of the Silk-Featherbrush Art Style, Aberjhani's work as both an author & an artist have been acclaimed by critics, readers, and cultural arts supporters around the world.
For the part 1 introduction to this blog on artwork which has recently become available please check it out right here. Part 2 begins right here right now:
Beauty of the World's Fountains
Fountains are among the most admired ornamental man-made structures because they combine the artistic beauty of refined sculpture with the precision of engineering and architecture. Celebrated examples can be found all over the world, including Savannah, Georgia. One of the city's most famous is the subject of two new Postered Chromatic Poetics images. Below is the accompanying text for the art and although I like both very much, I confess to being particularly pleased by the results achieved with Champagne Twilight:
Sepia Afternoon: Forsyth Park Fountain in Savannah, Georgia (USA)
A solitary figure stops in front the Forsyth Park Fountain to enjoy one of the city of Savannah's most popular and majestic attractions.
Ever since the days following the American Civil War, the fountain has been a favorite location for residents and visitors alike to take photographs. During the war, the park was known as the South Common military encampment where prisoners of war, a hospital, and poor house were maintained.
The fountain's spraying water is dyed green every year in celebration of St. Patrick's Day. In this image, late afternoon sunlight on a hot summer day creates an amber sepia haze that colors the air and water, slightly clarified and enhanced by digital filter.
Champagne Twilight: Forsyth Park Fountain in Savannah, Georgia (USA)
The elegantly-sculpted Forsyth Park Fountain, also referred to as the Versailles Fountain, dates back to the 1850s when model for it was derived from French-styled designs of the period. Along with the Confederate Monument, this is one of the primary centerpieces of Forsyth Park. The present-day fountain is the result of many renovations over the past century and a half, including a complete restoration in 1988.
A robed woman adorns the top of the fountain as water birds and tritons (or mermen) spout water below. In addition to benches that allow passersby to sit and enjoy the view, the fountain is surrounded by moss-covered oaks, palm trees, magnolias, and elms.
Prior to becoming known as Forsyth Park, the location during the Civil War was the South Common military encampment where POWS and a hospital were maintained.
Aberjhani is an American poet, historian, essayist, editor, journalist, social critic, and cautious artist. His many honors include the Choice Academic Title of the Year Award, the Notable Book of the Year Award, Outstanding Journalist, and Poet of the Year. He is currently completing final edits on a work of creative nonfiction about the cultural arts, race relations, immigration, and human trafficking in his hometown of Savannah, Georgia.
When the doors of the Jepson Center for the Arts opened to the public in Savannah, Georgia’s, downtown Historic District on March 10, 2006, it served as one more important reminder that the city is much more than a time-capsule filled with unique Civil War memorabilia. It is also home to many creative progressive thinkers eager to see a more sensible social and political balance than those presently evident.
This week marks the 10th anniversary of the most avant garde facility within the complex of the Telfair Arts Academy museums. The Center’s cultural and educational value to Savannah since its opening has been demonstrated many times over. It proved especially momentous to this author personally when the publication launch for ELEMENTAL, the Power of Illuminated Love (co-created with artist Luther E. Vann) sponsored by the Friends of African-American Arts, was held there May 29, 2008.
Sonic Revelations Painted Abstract Divine
The following year I returned to the center on March 22 with the intention of reporting on an exciting multi-media event taking place there. It featured a group of visual artists referred to as the Creative Force Artist Collective creating abstract paintings and sculpture while jazz saxophonist Jody Espina performed with a live band and audience members danced to the free-flowing vibes. The energy was so intense that I stopped jotting the notes I had been taking to write my story. Instead, my pen joined in with the flying paintbrushes, wailing music, and dancing souls by spontaneously writing the poem titled “Sounds Scribbled Mixed-Media Platinum at the Jepson Center 3/22/09.” The following is an excerpt:
A man sitting monkey-like
The complete poem was later published in The River of Winged Dreams. For me, the event that inspired it and the poem itself came to symbolize one of the ways that the Jepson Center for the Arts had come to exert a powerful regenerative influence on the city’s evolving cultural identity.
Claude Monet and Esteemed Company
Flashing forward to January 2016: I took a trip to the Telfair Museum of Art and Jepson Center for the Arts to conduct some field research for my current book-in-progress. The first surprise as I walked through Telfair Square toward the Telfair was discovering that it undergoing heavy-duty maintenance and repairs. The building was surrounded by scaffolding and the museum’s iconic trademark statues were sheathed in plastic. It would seem administrators wanted the senior museum at its best in time for the younger gallery’s birthday.
Inside the Jepson, I was fully prepared for the splendor that greeted me as I viewed the Monet and American Impressionism exhibit in the Steward Galleries. Given the combination of how French artist Claude Monet’s (1840-1926) singular brilliance had defined, and transcended, an entire era in art history so powerfully that its impact was celebrated in the Southeastern United States two centuries later, breathtaking splendor was about the only thing anyone could have expected. What I had not been prepared for were two different but equally-stunning exhibits in the form of photographs by Jack Leigh and the captivating oversized collage canvases of Mickalene Thomas.
The Evolution of
Contemporary award-winning author of classically-styled works in history, poetry, creative nonfiction, speculative fiction, and journalism.