MOM ALICE, William H. Johnson (1901-1970)
This past Saturday, July 27th, my better half Lizzy and I spent our 23rd anniversary getting some much needed inspiration. Shout out to my man Julian Alexander (@slanginc) for giving me the heads up on the The Harlem Renaissance and Transatlantic Modernism exhibit that was on at the Met. The title alone had me bugging! Come on. Transatlantic modernism!?
Understanding that this was the first time much of this great and broad collection of work was hung together, I went in determined not to overlook anything! Setting foot in the first of the large display rooms, I was struck by what an amazing time it is to be alive. Langston Hughes’ message felt particularly contemporary, like he was speaking now. “We younger Negro artists who create now intend to express our individual dark-skinned selves without fear or shame. If white people are pleased we are glad. If they are not, it doesn't matter. We know we are beautiful. And ugly too.... If colored people are pleased we are glad. If they are not, their displeasure doesn't matter either. We build our temples for tomorrow, strong as we know how, and we stand on top of the mountain, free within ourselves”. To know that this connection has been here all along made me feel like there is now a closing of the loop. How fortunate I am to be here to acknowledge it. It was also a reminder of the duty of Black artists and designers to our community.
The visit gave context to much of what I’ve seen in books and lectures about the Harlem Renaissance or The New Negro movement as it was known at the time. Who knew that there were international connections made in the aims of discussing the depiction of the African subject? Having followed my own creative instincts to mainland Europe for the better part of the last decade, the experiences the artists spoke of rang true for me personally. One thing that stood out is that nearly 100 years ago there were deliberate and intentional transatlantic connections made. And even with letters taking up to a month and traveling by ship, there was still a unified vision of the future.
I was particularly drawn to the work of:
AARON DOUGLAS, American, 1899-1979 THE CREATION, 1935
PALMER HAYDEN American, 1890-1973 THE JANITOR WHO PAINTS ca. 1937
NOLA HATTERMAN, Dutch, 1899-1984 LOUIS RUCHARD DRENTHE / ON THE TERRACE, 1930
WILLIAM H. JOHNSON American, 1901-1970 JITTERBUGS II, ca. 1941
WINOLD REISS American, Born Germany, 1886-1953 FRED FRIPP, GRADUATE OF PENN SCHOOL, TEACHER, WITH CAROL AND EVELYN, 1927
HORACE PIPPIN, American 1888-1946 SELF PORTRAIT II, 1944
It was also a good reminder of what Modernism is, and that it’s driven by a world view rather than an aesthetic goal. Man, I’m so glad that I caught this show before it ended.
AH
The Harlem Renaissance and Transatlantic Modernism Exhibition Video Tour https://www.youtube.com/watch?v=O5vZ-x5G0Zs
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