Modern Heroics and MORE!

In the jumble of teeming streets, amidst the clash of architectural styles that is Newark, New Jersey, there is a fine collection of art and artifacts housed in the Newark Museum. I journeyed there in the backseat of a Honda Fit (THE car of choice on my street of tiny driveways) with two neighbors to see an exhibit called "Modern Heroics; 75 Years of African-American Expressionism."

Modern Heroics







Here is one of the museum staffers who was so friendly that she offered to take my photo with the large collage, Landscape with Camouflage, by Mickalene Thomas. At first I refused, but then I thought that perhaps it would be a good thing as then, one could see the scale of the artwork. When she had a hard time with my camera I took her picture to demonstrate.








It was a small show of what some might call "messy" artwork. Some were made from scraps, painted sometimes in a slap dash fashion.  A few were by "outsider" artists, child-like in their technique or naivete. There was humor, passion and mystery in this show, and it illicited a mixture of feelings in me.

There were two each by Bearden, Minnie Evans, Sallie Mae Rowe, and Norman Lewis, also an Emma Amos whose New York studio I remember visiting in graduate school at Banks Street College.













Here are two more pieces from the show: a painting by Norman Lewis and a sculpture by Kevin Sampson. I have become enthused by friends description of a recent show of Lewis' in Philly that I missed, but thus far I have only seen his work in a book. So it was with pleasure I saw an actual painting and a small drawing of his as well.

The Madjet is made from detritus found on the streets of Newark. It was inspired by Egyptian mythology, the label tells us, and an outsider artist's giant ark that once stood in a Newark vacant lot. For the artist it is symbolic of a spiritual journey. We are all on a journey - our life is a journey. I think if one pays attention to the spirit, or even if one doesn't, it is evolving or devolving as we so choose.

Nigerian Policeman, concrete, 

1991, Sunday Jack Apkan

I found many more sculptures and artifacts in other areas of the museum of interest to me. I spent a good deal of time in the traditional and contemporary African exhibits where the figure is a common subject.

Sokari Douglas Camp created this larger than life-size, steel figure of a male masquerader in 1995.

"Gelede" is a Nigerian performance that celebrates mothers. The woman on the figure's head represents the artist herself with her two children. In the tradition, men dress up with masks and costumes and act in skits satirizing mothers and society. An interesting tradition - why not? Mothers are loved and reviled both, let's face it. I know.

I stopped in my tracks when I saw these tall, ceramic figures. If I were an animated character I would have hearts streaming out of my eyes. They are towering, thin, and riddled with cracks. It is a wonder that they are standing. And I also wondered, how were they fired? Lying down?
























I learned that Etiye Dimma Poulsen, an Ethiopian-born artist living in Belgium, created these rather sad, stalwart figures over the years 1996-1998. She first fashioned an iron armature, covered it with clay and fired the sculptures in an outdoor kiln.

A Yoruba master craftsman, Bangboye created this "Epa Headdress" sometime in the early to mid-20th century. How anyone could possibly wear this very large and no doubt very heavy object on their head is hard to imagine. None of the symbolism or story behind the imagery is explained on the museum signage, but it appears rich in meaning.

Another drop dead, wonderful sight to my eyes were these striking, black painted steel sculptures by Algerian artist Rachid Koraichi. Les Priants, from 2009, is an ensemble, only four of the eight sculptures are shown here. The artist is a master of Arabic calligraphy and is inspired by Sufism, the mystical branch of Islam. I love them for their grace and expressive linear movement - not easily accomplished in steel.

And lastly, a few pots that interested me, for their qualities of simplicity, or craftsmanship or lack of fussiness that refreshed my self-critical being.

Two pots from Africa:

terracotta storage vessel, 20th century, Molowi

terracotta pitcher, early 20th century, Algeria

And from America:

olla, ca. 1000-1100, Anasazi

Bough pot with two necks, 1957-58, Katherine Choy

Much, much more to see at the Newark Museum, but that is all for one visit. Thank you Cate and Pat for inviting me on this excursion. It was worth the traffic hassle, don't you think?