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Category Archives: African American

Josephine Baker – 1st African American Star Icon

“One isn’t necessarily born with courage, but one is born with potential. Without courage, we cannot practice any other virtue with consistency. We can’t be kind, true, merciful, generous, or honest.”
Maya Angelou


Josephine Baker born June 3, 1906 and died April 12, 1975, was an American dancer, singer, and actress who found fame in her adopted homeland of France. She was given such nicknames as the “Bronze Venus”, the “Black Pearl”, and the “Créole Goddess”. Even though she was born into poverty in her modest beginnings in St. Louis, Missouri, U.S.A., she did not let where she came from define where she was going in life.
Croix de guerre: Awarded for individuals who distinguish themselves by acts of heroism involving combat with enemy forces.

File:Croix-De-Guerre-Francis-Browne.jpg
Josephine Baker was “the first African American” female to star in a major motion picture, to integrate an American concert hall, and to become a world-famous entertainer. What an awful burden the label, “The First…”, for someone who just wanted to entertain and do what seemed a natural calling. Why in 2011 do still say, “The First …?” Does “the first …” imply meeting up to a “White Standard”. In a recent interview Morgan Freeman said he didn’t want to be though of as a good black actor because the black label implied a different standard. When will a person of color just be able to be great at something and not have skin color define their standard?
Josephine Baker gained international prominence as a political revolutionary for assisting the French Resistance during World War II, which resulted in being the first American-born woman to receive the French military honor, the Croix de guerre. Josephine Baker is also noted for her contributions to the Civil Rights Movement in the United States. She was offered the unofficial leadership of the movement by Coretta Scott King in 1968 following Martin Luther King, Jr.‘s assassination, but turned it down.
Yes she was African American and she was “the first…” many times but like most others who were “the first…” that was not her goal. She was simply following her natural path and trying to do what she felt was right. It’s time to shift our focus from differentiation of standard and accomplishment based on the personal aspects of race, sex, religion or sexual orientation to each of us striving for the highest standard of what we can contribute. As a person of action and conviction Josephine Baker sets an example that we all should seek to emulate. What are our gifts and how can we make a difference?

 

Joseph Osborne Social Curator

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Jay Z – 21st Century Black Moses of Brooklyn

On September 26, 2011, Jay-Z, the Nets’ minority owner, announced that the team’s new name after the move to Brooklyn would be the Brooklyn Nets.

At a time when many people are in need of leadership but find the church irrelevant and inconsistent with their beliefs, Artists, Entrepreneurs and American Icons like Jay Z are looked at to fill the need for role model/leadership. Much like the time of Moses, the people of communities filled with crime and poverty are looking for someone to be the example of “it is possible” and lead them out of the wilderness.

Success and leadership is about making critical choices at opportune times. Jay Z is an example of an individual who grew up in difficult or challenging circumstances but made it out. He is an example of the amazing untapped potential in people and how believing in yourself can make a positive difference in the world beyond an individual’s circumstances. To individuals in challenged communities, who are searching for solutions but too often feel dis-empowered, he is an inspiration.

Joseph Osborne & Bill Schoenleber Social Curators

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the NEW american gentleman

“What ever you do in life, don’t be common.”
Cousin Flemming


When I was in my early 20′s, Cousin Flemming, a family member I respected was in her 80’s. Things were far from perfect in her life, however you always felt Inspired when you were around her.
When someone seems to be considerate of others – do they have an advantage?
When did rude become cool?
Did the subjective concept of being rude become cool because we weren’t fully aware of our actions?
Are we in need a consistent role model?
How can we American people, a nation of commoners, not be common?
What is common?

Well in the world of 2.0, we often start our research on Wikipedia, where interestingly our search results give us Common (the entertainer). Our American Standard is most often led by the entertainment industry, movie industry, fashion industry or politicians. With our American heritage rooted in the British Empire, we might look for clues hidden in British Royal Protocol. However, we begin to understand how the founding fathers felt when they were drafting the Declaration Of Independence.
So where do we start in regards to the concept of common?
Let’s start with George Washington, the first American President. With this standard, we can lead up to the current American President, which at the time of this writing is President Barack Obama. Many could argue many things about the current sitting President, however we could imagine a large percentage of people agreeing that the President sets a standard of accepted respectable behavior. This new standard could be defined as the New American Gentleman.
Joseph Osborne

Joseph Osborne & Bill Schoenleber Social Curators

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are most african american artist outsiders

the outsider artist
Neo-expressionism is a style of modern painting and sculpture that emerged in the late 1970s and dominated the art market until the mid-1980s. Related to American Lyrical Abstraction of the 60s and 70s, Bay Area Figurative School of the 50s and 60s, the continuation of Abstract Expressionism, New Image Painting and precedents in Pop painting, it developed as a reaction against the conceptual art and minimal art of the 1970s. Neo-expressionists returned to portraying recognizable objects, such as the human body (although sometimes in an abstract manner), in a rough and violently emotional way using vivid colors and banal color harmonies.
Robert Colescott, Jean-Michel Basquiat and Anselm Kiefer to name a few prominent in the Neo-expressionist movement were some of my teachers and influences at the San Francisco Art Institute. By definition I am a Neo-expressionist artist. Does this new definition change anything? Is it a good thing or a bad thing? Is suddenly realizing you’re a neo-expressionist like finding out we are Bi-polar, Obsessive Compulsive, Dyslexic or have some other disorder that makes us not OK. A lot of the best Artists might not have fit into the mainstream idea of what‘s OK.
Why do we have to label everything anyway?
Well I guess it does help people to understand the common thread and it helps us to realize that we are part of a voice of many and not just alone in our journey to realizing that not OK with some is fine with me.

Artist: Joseph Osborne

Title: Kwanzaa #2

Image Size: 5′X 7′inch art print

Great Pre-view Sample For The Giclee Custom Edition

Joseph Osborne & Bill Schoenleber Social Curators

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Issues In African American Art [review]

Issues in African American Art mirror issues in African American life. One can’t help but notice the ever changing questions asked by each work of art in the exhibition Titled: 30 Americans at the Corcoran Gallery in Washington, DC. Where did we come from? African American Art is a metaphor of the African American experience. Mixed and varied influences by various cultural traditions, including those of Africa, Europe and the Americas. Where are we now? Traditional concepts of African American Art mirror the greater traditions of the United States Of America, which are rapid and ever changing due to the nature of a fast moving culture. Where are we going? It’s hard to separate the Popular Cultural influences on African American Art as it is hard to separate the influences on American life in general. This definition if personified in the photograph by Hank Willis Thomas Titled: Branded Head. Mr. Thomas speaks about how Modern American Slaves were branded as a sign of ownership and how decedents of Slaves brand themselves with Corporate Logos or Brand identity. When will we as African American people own more of our own voice on the Issues? As noted by the African American Scholar David Driskell, “We are either part of the problem or part of the solution”. The exhibition at the Corcoran Gallery takes on the overwhelming responsibility of telling a story that is long over-due. The exhibition also tries to start a conversation relative to being a part of a complex solution to issues embedded in the total African American cultural experience. Can’t we just be an American Artist? The answer to this ever plaguing question for African American Artist is found embedded in the history of the African American Civil Rights Movement. A movement that began with a defiant group of people whose ancestors were brought to this country to be the backbone of free labor during the height of the Age Of Agricultural. The answer came in this defining statement of the movement with Dr. King’s eloquent wish; “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character.” Martin Luther King, Jr.

Joseph Osborne & Bill Schoenleber Social Curators

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Bill Traylor


Bill Traylor was born into slavery in 1854. The prime of his life was spent sharecropping. Like most blacks of his generation, the first black American citizens, they were expected to farm the land without owning it. Bill Traylor was expected to know his place, stay in it and leave this world with out leaving a foot print. Bill Traylor at the height of the great depression, in his 80s, he moved to Montgomery, Alabama. It was in Montgomery, he found himself homeless, jobless and alone. However regardless of his circumstances he pursued his passion which was painting, drawing and documenting the local culture in the thriving African American community. There is no evidence of Traylor drawing before moving to Montgomery, however once there that is all he did.

Joseph Osborne & Bill Schoenleber Social Curators

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Don Lemon

Don Lemon on the Gayle King Show
Discussing the difference between privacy and secrets

Privacy and Secrets:

As a public figure, one who is in the media, should there be any privacy? What is the difference between privacy and secrets?

In America, the land of the free, everyone has the right to privacy. The problem comes if you are hiding something (a secret) and that gives others a power over you that influences your decision-making you don‘t have your freedom. Don Lemons distinction that secrets are something that can be held against you is important to understand. A loss of a persons free choice as a result of a desire to keep a secret can have far-ranging consequences. This is especially significant when the person is in a position of influence. Historically Gays were considered a security risk because it was thought that they could be back mailed with the disclosure of their sexuality. As sexual orientation has become less and less of an issue for most of us the need for privacy about it has diminished.
Rumors have circulated for sometime in regards to the sexuality of various celebrities. Each has had to deal with it in their own way. Cultural differences in regards to acceptance of sexuality have played roles. As a Latino/pop idol, Ricky Martin tried to deny his sexuality in order to protect his career. His denial caused him to give up a degree of his freedom and opportunities for happiness. He has more recently reclaimed his freedom by his public acknowledgement of his sexuality. It doesn’t mean that he is free of discrimination, as can be seen in a recent attempt to keep him from performing in Honduras.
Another highly visible person, in a position of influence, about which rumors have circulated is Anderson Cooper. His stance is different in that he has not denied anything but rather gone towards the perspective of privacy. As a journalist he says that he is trying to maintain his impersonality in the stories that he covers. He also has a history of growing up in an environment that was very public creating a desire to have a private aspect to his personal life. While he may or may not be gay only he can know what the choice to maintain his privacy is costing him.
We have choices in regards to what to keep private and what we want others to know about us. The balance is in what freedom we may have to give up as a result.

Joseph Osborne & Bill Schoenleber Social Curators

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Josephine Baker


Josephine Baker born June 3, 1906 and died April 12, 1975, was an American dancer, singer, and actress who found fame in her adopted homeland of France. She was given such nicknames as the “Bronze Venus”, the “Black Pearl”, and the “Créole Goddess”. Even though she was born into poverty in her modest beginnings in St. Louis, Missouri, U.S.A., she did not let where she came from define where she was going in life.
Croix de guerre: Awarded for individuals who distinguish themselves by acts of heroism involving combat with enemy forces.

File:Croix-De-Guerre-Francis-Browne.jpg
Josephine Baker was “the first African American” female to star in a major motion picture, to integrate an American concert hall, and to become a world-famous entertainer. What an awful burden the label, “The First…”, for someone who just wanted to entertain and do what seemed a natural calling. Why in 2011 do still say, “The First …?” Does “the first …” imply meeting up to a “White Standard”. In a recent interview Morgan Freeman said he didn’t want to be though of as a good black actor because the black label implied a different standard. When will a person of color just be able to be great at something and not have skin color define their standard?
Josephine Baker gained international prominence as a political revolutionary for assisting the French Resistance during World War II, which resulted in being the first American-born woman to receive the French military honor, the Croix de guerre. Josephine Baker is also noted for her contributions to the Civil Rights Movement in the United States. She was offered the unofficial leadership of the movement by Coretta Scott King in 1968 following Martin Luther King, Jr.‘s assassination, but turned it down.
Yes she was African American and she was “the first…” many times but like most others who were “the first…” that was not her goal. She was simply following her natural path and trying to do what she felt was right. It’s time to shift our focus from differentiation of standard and accomplishment based on the personal aspects of race, sex, religion or sexual orientation to each of us striving for the highest standard of what we can contribute. As a person of action and conviction Josephine Baker sets an example that we all should seek to emulate. What are our gifts and how can we make a difference?

Joseph Osborne & Bill Schoenleber Social Curators

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Robert Colescott


Robert H. Colescott, born August 26, 1925 and died June 4, 2009, was an American painter. He is known for satirical genre and crowd subjects, often conveying his exuberant, comical, or bitter reflections on being African-American. He studied with Fernand Léger in Paris. According to the Albright-Knox Art Gallery, Colescott was “the first African-American artist to represent the United States in a solo exhibition at the Venice Biennale in 1997.” According to Askart.com and Artcyclopedia.com, his work is in many major public collections, including (in addition to the Albright-Knox) those of the Museum of Modern Art in New York, the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Boston, the Hirshhorn Museum and Sculpture Garden, and the Baltimore Museum of Art.

http://upload.wikimedia.org/wikipedia/en/0/06/RobertCHeartbreak.jpg

Robert H. Colescott‎  Title: Heartbreak Hotel

In his George Washington Carver Crossing the Delaware: Page From an American History Textbook, he re-imagined Emanuel Leutze’s 1851 painting of the Revolutionary War hero, putting Carver, a pioneering African American agricultural chemist, at the helm of a boat loaded with black cooks, maids, fishermen and minstrels. With equally transgressive humor and an explosive style, he also created his own versions of Vincent van Gogh’s Potato Eaters, Jan van Eyck’s Arnolfini Portrait and Édouard Manet’s Dejeuner sur l’Herbe.

Colescott was drafted into the U.S. Army in 1942 and served in Europe until the end of World War II. His tour of duty took him to Paris, then the capital of the art world and a city that was hospitable to African American artists. Back home, he enrolled at UC Berkeley, which granted him a bachelor’s degree in drawing and painting in 1949. He spent the following year in Paris, studying with French artist Fernand Léger, then returned to UC Berkeley, earning a master’s degree in 1952.
Colescott moved to the Northwest after graduation and began teaching at Portland State University. He was on staff there from 1957 to 1966. But he had a life-changing experience in 1964 when he took a sabbatical with a study grant from the American Research Center in Cairo, Egypt. He returned to Portland for a year but went back to Egypt as a visiting professor at the American University of Cairo from 1966 to 1967. When war broke out, he and his family (then-wife Sally Dennett and their son Dennett Colescott, born in Portland, Oregon in 1963) moved to Paris for three years. They returned to California in 1970 and he spent the next 15 years painting and teaching art at Cal State, Stanislaus, UC Berkeley and the San Francisco Art Institute. Colescott accepted a position as a visiting professor at the University of Arizona in Tucson in 1983 and joined the staff in 1985, moving up the academic ladder until 1998, when he became a professor emeritus.

Joseph Osborne Social Curator

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Bill Traylor


William “Bill” Traylor was born on April 1, 1854 and died on October 23, 1949.  He was a self-taught artist born into slavery on a plantation belonging to George Hartwell Traylor near Benton, in Lowndes County, Alabama. After emancipation, his family continued to farm on the plantation until the 1930s.
Bill Traylor in spent the prime of his life working as a sharecropping. Like most blacks of his generation, the first black American citizens, they were expected to farm the land without owning it. Bill Traylor was expected to know his place, stay in it and leave this world with out leaving a foot print. Bill Traylor at the height of the great depression, in his 80s moved to Montgomery, Alabama where he slept in the back room of a funeral home and in a shoemaker’s shop. During the day, he sat on the sidewalk and drew images of the people he saw on the street and remembered scenes from life on the farm.  Traylors art gallery was the fence behind him. Charles Shannon, a painter, who, with his friends from the New South, brought Traylor art supplies and bought his drawings for nominal sums. Despite being homeless, jobless and alone, Traylor pursued his passion which was painting, drawing and documenting the local culture in the thriving African American community. There is no evidence of Traylors drawing before moving to Montgomery, however once there, that is all he did. During the next four years, Traylor produced between 1200 and 1500 drawings. In February, 1940, the New South hosted an exhibition of Traylors drawings, and in 1942, the Fieldston School in Riverdale, New York, hosted an exhibition organized by Victor E. D’Amico. The shows produced no sales. During World War II, while Shannon served in the South Pacific, Traylor moved north to live with relatives. Returning to Montgomery in 1945, he lived on the street again until relief workers insisted that he move in with a daughter who lived in Montgomery. A requiem mass was held for Traylor at St. Jude Church after his death October 23, 1949.

Joseph Osborne Social Curator

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