We will recreate the vibes of Barnes' most iconic painting, The Sugar Shack, which was inspired by a dance party at the Durham, NC Armory that Barnes had snuck into as a boy. The painting was featured prominently in the 1970s TV sitcom Good Times, and was used as a Marvin Gaye "I Want You" album cover in 1976. The album has often been noted by critics for producer Leon Ware's exotic, low-key production and the erotic, sexual themes in his and Gaye's songwriting.
Join Artist Musa Hixson and Brooklyn Art Incubator at the Vision Booth During the Miami Art Week and SoulBasel 2018
The Vision to Action Project has been developed to help people see themselves as designers of their communities. This project helps community members with vision to take action, by use of visual art. These new designs can be especially helpful to people with goals to support the environment or improve local infrastructure.
Ernie Barnes 80th anniversary celebration comes to Overtown, with this unique opportunity to purchase Ernie Barnes original paintings and works on paper. Barnes is best known for his unique style of elongation, energy, and movement. Barnes is best known for his unique style of elongation, energy, and movement. In his prolific body of work, Barnes chronicled his personal experiences with football, music, dance, love, sports, education, church, and the South. Widely-known as the real painter of the artwork in the groundbreaking African-American sitcom Good Times, Barnes' style has been widely imitated. It is best exemplified by his iconic Sugar Shack dance scene that appeared on a Marvin Gaye album cover and in the closing credits of Good Times. After five seasons as a professional football player, he retired at age 27 to pursue art. A consistent and distinct feature in Barnes' work is the closed eyes of his subjects. "I began to see, observe, how blind we are to one another's humanity. Blinded by a lot of things that have, perhaps, initiated feelings in that light. We don't see into the depths of our interconnection. The gifts, the strength and potential within other human beings. We stop at color quite often. So one of the things we have to be aware of is who we are in order to have the capacity to like others. But when you cannot visualize the offerings of another human being you're obviously not looking at the human being with open eyes....We look upon each other and decide immediately: This person is black, so he must be... This person lives in poverty, so he must be...”
This HAL Exhibition is brought you by Hampton Art Lovers in partnership with the Miami CRA, Chairman Hardemon, Black Archive, Urban Collective and the Ernie Barnes Estate
Elizabeth Catlett & the Hampton Arts Tradition Opening Reception is Hosted by Gwen Cherry Black Women's Lawyers Association, Delta Sigma Theta, Inc. (Dade Alumnae Chapter) & Wilkie D. Ferguson Bar Association
Hampton Art Lovers will highlight and exhibit a selction of Hampton University Museum's extensive Catlett collection of works on paper. One of the most influential artists of the 20th century, known primarily as a printmaker and sculptor, Catlett is acclaimed both for her technical brilliance and the emotional impact of her work. Proud of her African American heritage Catlett made compassionate, heroic images of ordinary people. Catlett's work, expresses the themes of injustice, black women as figures of strength, and the mother and child bond. Her work also reflects her shared pride, grief, joy and outrage of the human condition for both African Americans and Mexicans. “The works represented in this exhibition show the importance of Catelett as a major contemporary international artist. In addition to her ability to show the humanistic side of her subjects, Cateltt's ability to capture the essence of her subject is demonstrated through her technical brilliancy.” - Dr. Thaxton-Ward, Director of the Hampton University Museum and Editor of the International Review for African American Art.
This exhibition is brought you by Hampton Art Lovers in partnership with the Miami CRA, Chairman Hardemon, Black Archives and Urban Collective.
The Historic Ward Rooming House carries historical significance and it is a delight to bring this exhibition to this space. Built in 1925 by Shaddrack and Victoria Ward, it served as a home for both blacks and Native Americans who needed a safe place to sleep at night. It was designated a historic site by the City of Miami in 2006 and fully restored in 2010 and now serves as a gallery and event space. Built in the era of Overtown's historic heyday, when it was known as "Colored Town," the Ward Rooming House stands as a tribute to the history of the oldest historic black community in the City of Miami. As one of the few remaining buildings of its time, a seemingly ordinary rooming house becomes significant for the larger role it serves in preserving the history and architecture of Miami's Black community.
Featuring the works of: BUCK! Musa Hixson Phillip Shung