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.