000004 - Aaron Douglas, African American Artist

Aaron Douglas (b. May 26, 1898, Topeka, Kansas – d. February 3, 1979, Nashville, Tennessee) was an African-American painter and a major figure in the Harlem Renaissance.

Aaron Douglas was born in Topeka, Kansas, to Aaron and Elizabeth Douglas. He developed an interest in art during his childhood and was encouraged in his pursuits by his mother. Douglas graduated from Topeka High School in 1917. He received his B.A. degree from the University of Nebraska-Lincoln in 1922. In 1925, Douglas moved to New York City, settling in Harlem. Just a few months after his arrival he began to produce illustrations for both The Crisis and Opportunity, the two most important magazines associated with the Harlem Renaissance. He also began studying with Winold Reiss, a German artist who had been hired by Alain Locke to illustrate The New Negro. Reiss's teaching helped Douglas develop the modernist style he would employ for the next decade. Douglas’s engagement with African and Egyptian design brought him to the attention of W. E. B. Du Bois and Dr. Locke, who were pressing for young African American artists to express their African heritage and African American folk culture in their art.
Douglas was heavily influenced by the African culture. His natural talent plus his newly acquired inspiration allowed Douglas to be considered the "Father of African American Arts." That title led him to say," Do not call me the Father of African American Arts, for I am just a son of Africa, and paint for what inspires me."

For the next several years, Douglas was an important part of the circle of artists and writers we now call the Harlem Renaissance. In addition to his magazine illustrations for the two most important African-American magazines of the period, he illustrated books, painted canvases and murals, and tried to start a new magazine showcasing the work of younger artists and writers. It was during the early 1930s that Douglas completed the most important works of his career, his murals at Fisk University and at the 135th Street Branch of the New York Public Library (now the Schomburg Center for Research in Black Culture).
Throughout his early career, Douglas looked for opportunities to increase his knowledge about art. In 1928–29, Douglas studied African and Modern European art at the Barnes Foundation in Merion, Pennsylvania on a grant from the foundation. In 1931, he traveled to Paris, where he spent a year studying more traditional French painting and drawing techniques at the Academie Scandinave.

In 1939, Douglas moved to Nashville, Tennessee, where he founded the Art Department at Fisk University and taught for 27 years. Coinciding with this move was a shift to a more traditional painting style, including portraits and landscapes.

Aaron Douglas has been called the father of African American art. His striking illustrations, murals, and paintings of the life and history of people of color depict an emerging black American individuality in a powerfully personal way. Working primarily from the 1920s through the 1940s, Douglas linked black Americans with their African past and proudly showed black contributions to society decades before the dawn of the civil rights movement. His work made a lasting impression on future generations of black artists.

Best represented by black-and-white drawings with black silhouetted figures, as well as by portraits, landscapes, and murals, Douglas's art fused modernism with ancestral African images, including fetish motifs, masks, and artifacts. His work celebrates African American versatility and adaptability, depicting people in a variety of settings—from rural and urban scenes to churches to nightclubs. His illustrations in books by leading black writers established him as the black artist of the period. Later in his career, Douglas founded the Art Department at Fisk University in Nashville, Tennessee.

Beginning in the 1920s, Douglas's illustrations appeared in books by James Weldon Johnson, Countee Cullen, Alain Locke, and other prominent black writers, activists, and intellectuals. They were also featured in such magazines as The Crisis, Opportunity, Harper's, and Vanity Fair. From the late 1920s through the 1940s, his art was shown across the United States at universities, galleries, hotels, and museums, including the Harmon Foundation in New York, the Museum of Fine Arts in Dallas, Howard University's Gallery of Art, the Brooklyn Museum, and New York's Gallery of Modern Art. In addition, selected works by Douglas were assembled for a landmark traveling show of Harlem Renaissance artworks sponsored by the Studio Museum in Harlem in 1988.

Douglas received a B.F.A. from the University of Nebraska in 1922 and a bachelor of arts degree from the University of Kansas the next year. Commenting on his days at the University of Nebraska, where he won a prize for drawing, he recalled: "I was the only black student there. Because I was sturdy and friendly, I became popular with both faculty and students." His ability to get along notwithstanding, Douglas longed to draw from an undraped model and felt constrained by the "Victorian attitudes" that prevented the school from using nudes in the classroom.

The style Aaron Douglas developed in the 1920s synthesized aspects of modern European, ancient Egyptian, and West African art. His best-known paintings are semi-abstract, and feature flat forms, hard edges, and repetitive geometric shapes. Bands of color radiate from the important objects in each painting, and where these bands intersect with other bands or other objects, the color changes.

The works of Aaron Douglas include:

• Illustrations for The Crisis and Opportunity, 1925–1939
• Illustrations for James Weldon Johnson, God's Trombones, 1927
• Mural at Club Ebony, 1927 (destroyed)
• Illustrations for Paul Morand, Black Magic, 1929
• Harriet Tubman, mural at Bennett College, 1930
• Symbolic Negro History, murals at Fisk University, 1930
• Dance Magic, murals for the Sherman Hotel, Chicago, 1930–31
• Aspects of Negro Life, murals at the Schomburg Center for Research in Black Culture, 1934
• Illustrations included in selected editions of Countee Cullen's Caroling Dusk and Alain Locke's New Negro. Illustrations also published in periodicals such as Vanity Fair, New York Sun, Boston Transcript, and American Mercury.

000003 - Archibald Motley, African American Artist

Archibald John Motley, Junior (b. October 7, 1891, New Orleans, Louisiana – d. January 16, 1981, Chicago, Illinois) was an African-American painter. He studied painting at the School of the Art Institute of Chicago during the 1910s, graduating in 1918. He is most famous for his colorful chronicling of the African-American experience during the 1920s and 1930s, and is considered one of the major contributors to the Harlem Renaissance, or the New Negro Movement, a time in which African American art reached new heights not just in New York but across America. He specialized in portraiture and saw it “as a means of affirming racial respect and race pride.”

Unlike many other Harlem Renaissance artists, Archibald Motley, Jr. never lived in Harlem. He was born in New Orleans and spent the majority of his life in Chicago. He graduated from Englewood High School in Chicago. He was offered a scholarship to study architecture by one of his father's friends, which he turned down in order to study art. He attended the Art Institute of Chicago where he received classical training but his modernist-realist works were out of step with the school's then-conservative bent. During his time at the Art Institute, Motley was mentored by painters Earl Beuhr and John W. Norton, and he did well enough to cause his father's friend to pay his tuition. While he was a student, in 1913, other students at the Institute "rioted" against the modernism on display at the Armory Show (a collection of the best new modern art). Motley graduated in 1918 but kept his modern, jazz-influenced paintings secret for some years thereafter.

Motley experienced success early in his career. In 1927, his piece Mending Socks was voted the most popular exhibit at the Newark Museum in New Jersey. He was awarded the Harmon Foundation award in 1928, and then became the first African-American to have a one-man exhibit in New York City. He sold twenty-two out of the twenty-six exhibited paintings.

In 1927, he had applied for a Guggenheim Fellowship and was denied, but he reapplied and won the fellowship in 1929. He studied in France for a year, and chose not to extend his fellowship another six months. While many contemporary artists looked back to Africa for inspiration, Motley was inspired by the great Renaissance masters whose work was displayed at the Louvre. He found in the artwork there a formal sophistication and maturity that could give depth to his own work, particularly in the Dutch painters and the genre paintings of Delacroix, Hals, and Rembrandt. Motley’s portraits take the conventions of the Western tradition and update them—allowing for black bodies, specifically black female bodies, a space in a history that had traditionally excluded them.

During the 1930s, Motley was employed by the federal Works Progress Administration to depict scenes from African-American history in a series of murals, some of which can be found at Nichols Middle School in Evanston, Illinois. After his wife’s death in 1948 and difficult financial times, Motley was forced to seek work painting shower curtains for the Styletone Corporation. In the 1950s, he made several visits to Mexico and began painting Mexican life and landscapes.

Motley’s family lived in a quiet neighborhood on Chicago’s south side in an environment that was racially tolerant. Motley did not spend much of his time growing up around other blacks. It was this disconnection with the African American community around him that established Motley as an outsider. Motley himself was light skinned and of mixed racial makeup, being African, First American and European. Motley wrestled all his life with his own racial identity. He was unable to fully associate with one or the other, neither black nor white. Rather than focusing his energy on establishing his own racial identity, Motley turned his talents to uncovering the secrets of racial identity across the spectrum of skin color. As Motley struggled with his own racial identity, he used distinctions in skin color and physical features to give meaning to each individual shade of African American. Motley was fascinated with skin color and what it meant in the context of racial identity. He realized that in American society, different statuses were attributed to each gradation of skin tone.
In the 1920s and 1930s, during the New Negro Renaissance, Motley dedicated a series of portraits to types of Negroes. He focused mostly on women of mixed racial ancestry, and did numerous portraits documenting women of varying African-blood quantities ("octoroon," "quadroon," "mulatto"). These portraits celebrate skin tone as something diverse, inclusive, and pluralistic. They also demonstrate an understanding that these categorizations become synonymous with public identity and influence one's opportunities in life. It is often difficult if not impossible to tell what kind of racial mixture the subject has without referring to the title. These physical markers of blackness, then, are unstable and unreliable, and Motley exposed that difference.

Motley spoke to a wide audience of both whites and blacks in his portraits, aiming to educate them on the politics of skin tone, if in different ways. He hoped to prove to blacks through art that their own racial identity was something to be appreciated. For white audiences he hoped to bring an end to black stereotypes and racism by displaying the beauty and achievements of African Americans. Motley’s fascination with painting the different types of African Americans stemmed from a desire to give each African American his or her own character and personality. This is consistent with Motley’s aims of portraying an absolutely accurate and transparent representation of African Americans; his commitment to differentiating between skin types shows his meticulous efforts to specify even the slightest differences between individuals.

His night scenes and crowd scenes, heavily influenced by jazz culture, are perhaps his most popular and most prolific. He depicted a vivid, urban black culture that bore little resemblance to the conventional and marginalizing rustic images of black Southerners so popular in the cultural eye. It is important to note, however, that it was not his community he was representing—he was among the affluent and elite black community of Chicago. He married a white woman and lived in a white neighborhood, and was not a part of that urban experience in the same way his subjects were.

Motley married his high school sweetheart Edith Granzo in 1924. Granzo had German immigrant parents who were opposed to her interracial relationship and disowned Edith for her marriage to Motley. Edith died in 1948.

His nephew (raised as his brother), Willard Motley, was an acclaimed writer known for his 1947 novel Knock on Any Door.

Motley's early artistic endeavors include Old Snuff Dipper, a realistic portrait a working class southerner that won Motley a Harmon Foundation award.

One of his most famous works showing the urban black community is Bronzeville at Night, showing African Americans as actively engaged, urban peoples who identify with the city streets. In the work, Motley provides a central image of the lively street scene and portrays the scene as a distant observer, capturing the many individual interactions but paying attention to the big picture at the same time.

In Stomp, Motley painted a busy cabaret scene which again documents the vivid urban black culture. The excitement in the painting is very much palpable. One can observe a woman in a white dress throwing her hands up to the sound of the music, a couple embracing—hand in hand—in the back of the cabaret, the lively pianist watching the dancers. Interestingly, both black and white couples dance and hobnob with each other in the foreground. For example, on the right of the painting, an African American man wearing a black tuxedo dances with a woman whom Motley gives a much lighter tone. By doing this, he hoped to counteract perceptions of segregation.

The Octoroon Girl features a woman who is one-eighth black. In the image a graceful young woman with dark hair, dark eyes and light skin sits on a sofa while leaning against a warm red wall. She wears a black velvet dress with red satin trim, a dark brown hat and a small gold chain with a pendant. In her right hand, she holds a pair of leather gloves. The woman stares directly at the viewer with a soft, but composed gaze. Her face is serene. Motley balances the painting with a picture frame and the rest of the couch on the left side of the painting.

Motley developed a reusable and recognizable language in his artwork, which included contrasting light and dark colors, skewed perspectives, strong patterns and the dominance of a single hue. He also created a set of characters who appeared repeatedly in his paintings with distinctive postures, gestures, expressions and habits. These figures were often depicted standing very close together, if not touching or overlapping one another. Nightlife depicts a bustling night club with people dancing in the background, sitting at tables on the right and drinking at a bar on the left. The entire image is flushed with a burgundy light that emanates from the floor and walls, creating a warm, rich atmosphere for the club-goers. The rhythm of the music can be felt in the flailing arms of the dancers, who appear to be performing the popular Lindy hop.

During his career, Motley received the following awards:

• Frank G. Logan prize for the painting "A Mulatress".
• Joseph N. Eisenrath Award for the painting "Mending Socks".
• Recipient Guggenheim Fellowship.
• Harmon Foundation Award for outstanding contributions to the field of art, 1928.

000002 - Taylor Gordon, Concert Singer

Emmanuel Taylor Gordon (April 29, 1893 – May 5, 1971) was a singer and vaudeville performer associated with the Harlem Renaissance in the mid-1920s. He was born in White Sulphur Springs, Montana and moved to New York City at the age of 17. His career faded after the 1920s, and in 1959 he retired to White Sulphur Springs, where he died in 1971. In addition to his singing career, Gordon is remembered today for his 1929 autobiography, Born to Be, which recounts his youth as an Afro-American in small-town Montana, and his experiences in 1920s Harlem.

000001 - Brenda Fassie, Queen of Afro-Pop

Brenda Fassie (3 November 1964 – 9 May 2004) was an anti-apartheid South African Afropop singer. Her bold stage antics earned a reputation for "outrageousness". Affectionately called Mabrr by her fans, she was sometimes described as the "Queen of African Pop".

Fassie was born in Langa, Cape Town, as the youngest of nine children. She was named after the American singer Brenda Lee. Her father died when she was two, and with the help of her mother, a pianist, she started earning money by singing for tourists.

In 1981, at the age of 16, she left Cape Town for Soweto, Johannesburg, to seek her fortune as a singer. Fassie first joined the group Joy and later became the lead singer for a township music group called Brenda and the Big Dudes. She had a son, Bongani, in 1985 by a fellow Big Dudes musician. She married Nhlanhla Mbambo in 1989 but divorced in 1991. Around this time she became addicted to cocaine and her career suffered.

With very outspoken views and frequent visits to the poorer townships of Johannesburg, as well as songs about life in the townships, she enjoyed tremendous popularity. Known best for her songs "Weekend Special" and "Too Late for Mama", she was dubbed "The Madonna of the Townships" by Time in 2001.

In 1995, she was discovered in a hotel with the body of her lesbian lover, Poppie Sihlahla, who had died of an apparent overdose. Fassie underwent rehabilitation and got her career back on track. However, she still had drug problems and returned to drug rehabilitation clinics about 30 times in her life.

From 1996 she released several solo albums, including Now Is the Time, Memeza (1997), and Nomakanjani?. Most of her albums became multi-platinum sellers in South Africa; Memeza was the best-selling album in South Africa in 1998.

On the morning of April 26, 2004, Fassie collapsed at her home in Buccleuch, Gauteng, and was admitted into a hospital in Sunninghill. The press were told that she had suffered cardiac arrest, but later reported that she had slipped into a coma brought on by an asthma attack. The post-mortem report revealed that she had taken an overdose of cocaine on the night of her collapse, and this was the cause of her coma. She stopped breathing and suffered brain damage from lack of oxygen. Fassie was visited in the hospital by Nelson Mandela, Winnie Mandela, and Thabo Mbeki, and her condition was front-page news in South African papers. She died aged 39 on 9 May 9, 2004 in the hospital without returning to consciousness after her life support machines were turned off. According to the South African Sunday Times and the managers of her music company, the post-mortem report also showed that she was HIV-positive. Her manager, Peter Snyman, denied this aspect of the report.
Her family, including her long term partner, were at her side when she died in 2004.

Brenda Fassie was voted 17th in the Top 100 Great South Africans.
Her son Bongani 'Bongz' Fassie performed on the soundtrack to the 2005 Academy Award-winning movie Tsotsi. He dedicated his song "I'm So Sorry" to his mother.
In March 2006 a life-size bronze sculpture of Fassie by artist Angus Taylor was installed outside Bassline, a music venue in Johannesburg.

Most of Fassie's records were issued by the EMI-owned CCP Records.

• 1989: Brenda
• 1990: Black President
• 1994: Brenda Fassie
• 1995: Mama
• 1996: Now Is the Time
• 1997: Memeza
• 1997: Paparazzi
• 2000: Thola Amadlozi
• 2001: Brenda: The Greatest Hits
• 2003: Mali
• 2003: The Remix Collection
• 2004: Gimme Some Volume

Fassie also contributed to Mandoza's album Tornado (2002), Miriam Makeba's album Sangoma (1988), and Harry Belafonte's anti-apartheid album Paradise in Gazankulu (1988). She sang for the soundtrack for Yizo, Yizo (2004).