30San Antonio Ethnic Arts SocietyY 30th Anniversary Exhibition Z

San Antonio Ethnic Arts Society: 30th Anniversary Exhibition

John Coleman, Glen (Frank) Franklin, Carthelya Ann Harris,Claudette Hopkins, Paul Hurd, Carmen Cartiness Johnson,Gracie Poe, Trudy Rafelson, Howard Rhoder, Cecilia Z. Schwartzott, Ronney Stevens, Ronn Turner and Allee Wallace

Curated by Scott A. Sherer, PhD and Elizabeth Abston

Published on the occasion of the exhibition San Antonio Ethnic Arts Society: 30th Anniversary Exhibition at the UTSA Art Gallery, The University of Texas at San Antonio.

June 5 - August 9, 2013

ISBN: 078-0-9831130-5-8Editor: Scott A. Sherer and Elizabeth AbstonDesigner: Cornelia SwannPhotography: Courtesy of artistsCover Image: Ronney Stevens, Big Momma and Aunt Honey, pastel on sanded paper, 18” x 24”, 2004

This exhibition is sponsored in part by:

Elizabeth Huth Coates Charitable Foundation of 1992

© 2013 Art Gallery, The University of Texas at San AntonioAll rights reserved.Printed on recycled paper.

Printed on recycled paper.

30San Antonio Ethnic Arts SocietyY 30th Anniversary Exhibition Z

2

Art is a creative expression that emanates from the human spirit.

It is vitally at the core of life. Countries, cultures, communities and

ethnicities are defined, inspired and influenced by their artists.

Any remembrance of America that does not include the rich

contributions of African Americans is disingenuous. The art world is

no exception. Creativity is a force of nature that is color-blind.

The art of Africa is often offered a place of stature in many

American museums and their sculptures have influenced great

American artists. However, the art of African descendants who

traveled the middle passage to become enslaved in America

have struggled in their freed status to find respect and recognition

for their artistic expression. For most of the past two centuries, the

exhibition of the art of African Americans was as separate and

unequal as were the Jim Crow laws that defined their everyday

lives. Young students who traveled to a major Texas museum in

the first seventy years of the twentieth century were unlikely to see

a work of art by an African American. In the 1970’s three major

Texas museums stepped outside of their traditional spheres by

exhibiting art by African Americans. They were the 1970 exhibition

at the McNay Art Museum of the art of Henry O. Tanner and the

1976 Bicentennial exhibition, Two Centuries of African American

Art, whose national tour included a venue at the Dallas Museum

of Art and for which the catalog by art historian David Driskell

became a major reference for African American Art. And the

Art was the flower of life and, despite the years of ill-treatment, Black artists were among its most glorious blossoms.

“”

Aaronetta Hamilton Pierce

CREATIVITY AND COMMITMENT

- Maya Angelou, All God’s Children Need Traveling Shoes

3

third exhibit was in 1978 at the Institute of Texan Cultures of the art

of John Biggers. These three exhibits were very powerful and were

great examples for a beginning effort. However, as substantial

and meaningful as these exhibits were, their wide span of

locations and years made it difficult to develop momentum.

For years it seemed that the goal was to convince the

mainstream art world of museums, galleries, and art critics that

the art of Americans of African descent deserved their attention.

After all, were we not part of the same body of humanity and

were we not citizens like other Americans? Did not we also pay

taxes that supported our public museums? One could wonder

where were the footprints of African American artists when it was

still the exception in Texas to see African American artists’ works

permanently represented in public and private museums.

In 1970, my husband Joe and I returned to make San Antonio

our home after a three year military tour in Europe. While in

Europe, we were engaged at every turn with the value of art on

a country and its people. This was actually a shared experience

that had been nurtured in us in our childhoods. Having grown up

in the segregated south in the forties, fifties and sixties, we were

nourished by the cultural programs of the Black colleges where

our parents taught—Tennessee State University and Fisk University

in my native Nashville, Tennessee, and for Joe, the Atlanta

University System in Atlanta, Georgia and later Texas Southern

University in Houston, Texas. We separately saw the exhibitions

and murals of artists like Henry O. Tanner, Aaron Douglas, Hale

Woodruff and John Biggers. Our communities planted in us a

foundation on which we could build pride, self-worth, aesthetic

appreciation and historical associations.

As we looked around our new community, we wanted similar

experiences for our children and other children. We believed in

the power of the visual, performing, and literary arts to teach us

4

our history, to reinforce common values, and to encourage self-

esteem. Sadly there are too many children of color today who

are disrespected and disenfranchised by a society that fails to see

their need.

Such was the climate in San Antonio in the early 1980’s when a

few local African American artists were emerging with a desire to

connect with one another. We began to search out these artists—

often by word of mouth. We wanted to encourage them, to

acquire their art, and to nurture their spirits. We were also pleased

to connect with others who sought like-minded patronage of

these artists. As we spent more time with the artists, the idea for an

organization evolved and on January 10, 1984, with historian Gary

Houston and artists Johnnye Yates, John Coleman and F.L.“Doc”

Spellmon as charter members, and with an audience of artists

and patrons, we held a formal induction of the “Southwest Ethnic

Art Society” (SEAS). It was so named in order for the group to be

open to members from neighboring cities, but later changed to

the “San Antonio Ethnic Art Society” as the group found sufficient

patronage within the city.

The longevity and prosperity of the group is due to the dedication

of the artists. Newcomer artists to the community have been

welcomed. Annual group exhibitions and individual exhibitions

at the Carver Community Cultural Center and St. Philip’s

College have been valuable and instructive. They have given

the artists much needed opportunities to be viewed, critiqued,

documented and purchased.

SEAS gives back to the San Antonio community as it hosts an

annual “Lunch with the Artists,” the proceeds from which allow

them to award scholarships for art classes for young students.

Members mentor young people, speak to school groups and

participate in numerous workshops. Special recognition is

extended to Claudette Hopkins and Gracie Poe for their long

5

tenures as presidents of SEAS. Their service and leadership

have insured continuity and purpose. Additional thanks to John

Coleman and Paul Hurd for their many years of commitment to

SEAS.

Our community is richer because of the presence of the artists

of SEAS and the artists are fuller because of their association with

each other. They speak to a cultural legacy with a powerful and

unique voice. They add to the diverse cultural landscape of San

Antonio.

Today, San Antonio’s public and private museums are hosting

more exhibitions featuring African American artists than in earlier

years. These exhibits educate our entire community and offer

opportunities to study and appreciate critically acclaimed

historical and contemporary artists. This 30th Anniversary

Exhibition at The University of Texas at San Antonio demonstrates

the vitality of SEAS.

With enormous pride, we view the spendid work of the artists of

SEAS, the growth and the camaraderie of the membership and

the dedication of these artists to creative endeavor.

6

John Coleman

Across multiple bodies of work, John Coleman’s

paintings reveal him as a master of color and narrative

composition. His vignettes capture everyday life, both

past and present, and sometimes reference more

tenuous times in American history. Themes range from

perseverance in the face of slavery to race relations in

the civil rights era. Ice Cream Stand is both nostalgic and

captivating as it suggests an almost universal childhood

memory.

Ice Cream Stand, oil on canvas, 24” x 30”, 1997

7

Glen (Frank) Franklin

Glen (Frank) Franklin’s watercolor and acrylic paintings

represent a range of evocative and everyday images of

African American experience. He paints figures in a range

of settings, from scenes that suggest bygone times to

today’s frameworks. His works depict strong relationships

and solidarity, and single subjects, such as The Last

Hobo, suggest narratives of independent lives, hard

work, and optimism. Franklin’s skills are in evidence in his

textural rendering, from weathered faces and hands of

his subjects to the shadowy movement of their clothing,

giving personality to the material.

The Last Hobo (detail), oil on canvas, 22” x 28”, 2008

8

Carthelya Ann Harris

Although some of her past work is figural, some of Ann

Harris’s strongest works are in the Abstract Expressionist

vein of bold nonobjective compositions. Her wall

hangings are sculptural textiles that extend from the wall

plane in intricately twisted compositions. Universal themes

hint at African cultural influence, but process is as integral

to her work as the finished product. Hours of meticulously

dying the yarn and hand-knotting each section are

invested in each sculpture. Though Harris might begin

with a rough idea of how she wants a piece to ultimately

appear, a composition will begin to reveal itself only as

she actively works.

The Female (detail), hand dyed jute, 34”x48”, 1985

9

Claudette Hopkins

Working predominantly in soft pastel, Claudette Hopkins

has long focused on portraying the beauty of black

women, a subject she feels deserves more attention in

the art world. Her subjects are dancers, mothers, models,

and children—faces that appeal to her imagination and

experiences. Hopkins likes to “intensify life as she sees it,”

with her realistic portraits. Emphasis on facial details and

the sensuous lines of bodies distinguishes her work and

maximizes the personalities of the figures. Hopkins served

as president of SEAS for fifteen years.

The Christmas Bride (detail), pastel on paper, 32” X 24”, 2011

10

Paul Hurd

Paul Hurd is a self-taught sculptor and, above all, a

storyteller. His artistic interests span from clay sculpture,

woodcarving, and furniture with one-of-a-kind artistic

motifs to religious iconography that fuses his own style

with the influence of southwestern and Latino themes

that derive from his many years in San Antonio. Consisting

of both single figures and multiple groupings, these clay

arrangements convey narrative themes that range

from commentary on social mores to representations of

cultural heritage. Jawbonin’ depicts elders commenting

on the attitudes of a younger generation.

Jawbonin’ (detail), hand painted clay, 1987-88

11

Carmen Cartiness Johnson

The relationship between setting and figure is integral to

Carmen Cartiness Johnson’s paintings. Her work glorifies

the bonds formed in many cross-sections of American

life—front porches, back alleys, church grounds, and

cafes. The stories she tells stem from memories and

connections made throughout her life, and her figures

convey expressive body language and suggest vivid

movement. Johnson’s color palette contributes to the

unique character of the people and places she depicts.

In other series, she pursues abstracted compositions that

combine musical themes and organic elements.

Too Many Cooks, acrylic on canvas, 2004

12

Gracie Poe

Current president of SEAS, Poe’s work draws heavily

from African motifs, balancing aesthetic and cultural

appreciation for the ceremonial traditions from that

continent. Poe’s vessels are functional but emphasize

design and storytelling. Journey is an example of her

interest in fusing the narrative and the visual; it begins

with reference to African history, moves onward to the

shackles of slavery in the United States, and culminates

with freedom and hope. Poe also uses clay and found

objects to create dramatic wall hangings, referencing

African masking and sculptural styles fused with her own

designs and sometimes her own poetry.

Our Journey, clay, black iron oxide with acrylic, 10”x14”, 2011

13

Trudy Rafelson

The human form has long been the subject of Trudy

Rafelson’s sculptural work. Often working from live nude

models, Rafelson has experimented with a variety of

media to express the inherent beauty of the human

figure. Her works range from academic realism to

abstracted forms that are more totemic and stylized,

and fragmentation of the form reveals her interest in the

cultural diversity of ancient art forms. Rafelson is currently

in the process of pursuing her interests in metalsmithing,

drawing inspiration from indigenous crafting arts and their

relationships to the body.

Roman Head, white stoneware, 6 1/4”x 3 1/2”

Greek Head, terracotta, milk stain, 4 1/2”x3 1/4”

14

Howard Rhoder

Though Howard Rhoder can be described as a

landscape and portrait artist, he is particularly adept

at painting memories. These memories of people and

places are revealed through hyper-realistic handling of

his oil paints. His style heightens the vitality of his subjects

while enabling interpretations to remain elusive and

evocative, such as in the paintings of a family home

and that of a neighbor’s from the small town in Texas

where he was raised. Other artistic interests of Rhoder’s

include painting jazz and blues musicians and African

landscapes.

New Friends (detail), 24”x 30”, oil on canvas, 2012

15

Cecilia Z. Schwartzott

Cecilia Z. Schwartzott travels around the world with her

camera, seeking to transfer the beauty of the scenery

surrounding her onto a tangible window for her viewers to

experience. Often, her work casts sweeping landscapes

against traces of man-made elements to suggest a

dialogue about nature’s existence before human

intervention. An intriguing body of work involves high-

definition astronomical photography of the moon and

night sky. Eschewing digital manipulation, Schwartzott

uses telescopes and high-powered lenses to capture

celestial movement.

Circumpolar II 2/10, Junction, Texas, USA

digital photography, 13”x 19”, 2007

16

Ronney Stevens

Ronney Stevens uses soft pastel to create his portraits,

from homages of celebrities to sensitive portrayals of

family members. He has honed his skill and technique to

achieve the smoothest gradations of tone that create

an intimacy in the scenes within the borders of his works

that, in turn, extends to his viewers. His compositions

emphasize the strong characters of his subjects. Stevens’

work transforms realistic representations into commentary

about the strength of personal and family values and

traditions.

Big Momma and Aunt Honey, pastel on sanded paper,

18”x 24”, 2004

17

Ronn Turner

In addition to pursuing his passion creating fine art, Ronn

Turner designed the civil rights memorial for Phoenix’s

Eastlake Park. His paintings involve themes of African

American culture and spiritual redemption and often

contain figural elements that are rendered in bold,

graphically styled compositions. Turner is interested in

many aspects of the art world, from creating his mixed

media works to graphic design, website development

and running an independent gallery.

Praise Him (detail), mixed media on canvas, 24”x 36”, 2013

18

Allee Wallace

Photography allows Allee Wallace to be both an artist

and a documentarian. He is inspired by his surroundings,

whether beautiful San Antonio architecture or community

events featuring the people who live here. In recent work,

Wallace enhances the vividness of the environment,

adding an element of fantasy to his compositions such as

in his photographs of the Japanese Tea Garden at San

Antonio’s Brackenridge Park. His documentary work, such

as images of the Martin Luther King, Jr. Day parades and

Easter Passion Plays, present the subject matter as well as

the commitments of the participants.

Japanese Tea Garden - The Bridge, digital print, 13” x 19”, 2008

19

The San Antonio Ethnic Arts Society is a remarkable

organization. For over 30 years, a diverse group of individuals

has shared a commitment to creative exploration and to

promoting the arts. SEAS demonstrates the vibrant character of

the local art scene and maintains a scholarship program and

mentoring for gifted children in the 5th-12th grade to pursue

their dreams in the arts. While active membership has varied

over the years with the pressures of family and career, SEAS

continuously grows with new members who regularly exhibit

their works in a range of venues.

Over the last year, I have had the good fortune to get to know

and visit the studios of current SEAS artists. Some of them have

been making art since childhood, while others have returned

to their passions in the valuable moments set aside from

obligations. Each has been generous taking the time to talk

about their work, sharing examples of older series from storage

and discussing new projects just getting started. Across the

group as a whole and within members’ unique histories, themes

and treatments are wide-ranging. Inspiration comes from

personal stories, investigation of African American history and

the umbrella of American culture, fascination with the singular

beauty of individuals and special places, and the possibilities

inherent within art-making methods, materials, and forms.

The members of SEAS provide a model of creative excellence

and community involvement. The University of Texas at

San Antonio is proud to have the honor of hosting this 30th

Anniversary Exhibition.

— Scott A. Sherer and Elizabeth Abston

CURATORIAL STATEMENT

22