This maquette shows a human-like couple with enlarged heads and hands. The artist suggests their intimacy by joining their lower bodies together. The full-scale sculpture features finer details, such as modified head shapes, embellishments, and greater use of negative space.
This terracotta was created by an unknown Texas Southern art student. The form suggests a surreal male and female pair warmly embracing each other. The artist employs negative space uniquely in this sculpture; additional gendered embellishments can be seen within the open heads. These exterior decorations were required by Professor Carroll Harris Simms.
Criner’s print shows an older man wearing a hat and holding a chicken. This print is a black-and-white version of Criner’s piece “Mr. Alvin White, Man With Chicken.” Criner learned printmaking firsthand from Dr. John Biggers and was the longtime artist-in-residence at Houston’s Museum of Printing History.
Armstead Mills' painting shows a woman holding a bucket and striding through a field of flowers, with a small dog at her ankles. Malindy, wearing a dress and carrying a bucket, is portrayed tenderly and beautifully in this colorful nature scene. Mills' brother, Edward, also attended Texas Southern as an art student.
Blueitt’s senior notebook includes her written philosophy of art, photographs of the artist’s works and her process, and a copy of her senior exhibition brochure. As a part of the Texas Southern art curriculum under Dr. John T. Biggers and Professor Carroll Harris Simms, students would create these notebooks to explain their artistry and showcase the works they created as students.
This is a Luba sculpture from the Democratic Republic of Congo of a pregnant woman holding her stomach. The Luba are a matriarchal society and often create art centered around women, placing emphasis on their importance in their society. Some suggest that these figures are used to promote fertility.
Oliver's painting is of a young girl, standing by herself, with large eyes and a mournful expression. She is positioned on dry, rocky land with a single flower in her hand, perhaps alluding to feelings of emptiness and desertion. Behind her is a bleak skyline, with birds overhead. They are the girl’s only companions in the painting.
This maquette was created by a Texas Southern University art student. It is a lone figure with defined arms. The porous material and greenish hue evoke the appearance of a mossy rock.
Fields’ senior notebook includes her written philosophy of art, photographs of the artist’s works and her process, and a copy of her senior exhibition brochure. As a part of the Texas Southern art curriculum under Dr. John T. Biggers and Professor Carroll Harris Simms, students would create these notebooks to explain their artistry and showcase the works they created as students.
Leon Renfro’s bust is unique within the Texas Southern sculpture collection. It is one of only two busts made from a white plaster (as opposed to the standard terracotta material). The sculpture is also rather bare, lacking the intricate embellishments and ornamentation that are typical of the work of Carroll Harris Simms’ students.
Simms’ large ceramic platter is made from clay with a splotchy white glaze on the top. Carroll Harris Simms worked alongside Dr. John T. Biggers to establish the Texas Southern University Art Department. Simms taught sculpture, ceramics, and jewelry-making classes.
Sifuentes' painting shows a landscape filled with grass and a barren tree, with a bird perched atop. The tree bears human characteristics, perhaps symbolizing the interconnectedness of all living beings. This piece is painted in a geometric style that appears frequently in the work of students of Dr. John T. Biggers during the mid to late 1970s. Sifuentes later went on to become an art professor at Texas Southern.
Cole blends weaving methods with surrealist elements in this piece. The work depicts three cyclopes, mythological figures with one eye in the center of their foreheads, standing on a shore. Two of them are holding spears, while a meteor hurtles through the sky. The frowning faces of the figures add to the sense of impending doom.
This drawing by Vernon Simmons depicts a kuduo, vessels owned by kings in Akan kingdoms (modern-day Ghana), adorned by tortoises, a sign of longevity. The central figure seated under the umbrella is the nana, a ruler of the Akan people; he is surrounded by attendants. Dr. Biggers was an avid collector of African art and he used pieces from his collection as teaching tools for his students.
Alcee's mixed media painting, “Konga,” is a testament to music's power to uplift and excite. The artist draws inspiration from his experience working alongside Franck Kemkeng Noah, who taught him about the significance of Bamileke masks and symbols during a residency at TSU, and his St. Lucian heritage, shown in the vibrant colors and fluid movement of the piece. Alcee graduated from Texas Southern University is currently pursuing a teaching certification.
This painting shows children quarreling over a bicycle. The young boy in yellow is painted dramatically wailing, while the other child is portrayed from behind with a raised, balled fist. Dr. John Biggers encouraged Texas Southern student artists to create art based on what they saw. Scenes of children often appear in the permanent collection of TSU.
Mills paints a compelling and complex commentary on violence against indigenous people in the United States. In the foreground, a lifeless indigenous person floats next to a wrecked canoe. In the center, a white woman prepares to fire a cannon, still smoking from its last round. Behind her, a stoic Black woman holds one white baby and shelters another white child within her cloak. In the background, a faceless indigenous person reaches towards the scene.
In this interview, Texas Southern art alumnus Kermit Oliver discusses his time at Texas Southern (1962-1967) and his artistic philosophy & practice with Dr. Alvia J. Wardlaw, director and curator of the University Museum. He highlights the religious, personal, historical, and political influences that shape his artwork.
This is a brochure for Perez’s senior art exhibition. The culmination of the Texas Southern art curriculum is a senior exhibition where students showcase artwork created over the course of their undergraduate studies. The brochure features a brief biography, a photograph of the artist, an artistic philosophy, a catalog of the artwork featured in the exhibition, and five photos of her artwork.
This is a brochure for Takahashi’s senior art exhibition. The culmination of the Texas Southern art curriculum is a senior exhibition where students showcase artwork created over the course of their undergraduate studies. The brochure features a brief biography, an artistic philosophy, a catalog of the artwork featured in the exhibition, exhibition viewing information, and three photos of her artwork.
A native of New Orleans, Green transferred to TSU’s art program following Hurricane Katrina. His mural ties different aspects of New Orleans history and culture together through floodwaters. Enslaved ancestors stand at auction, and the city skyline, including the Superdome, is featured prominently.
This is a brochure for Hall’s senior art exhibition. The culmination of the Texas Southern art curriculum is a senior exhibition where students showcase artwork created over the course of their undergraduate studies. The brochure features a photo of Hall, a brief biography, a catalog of the artwork featured in the exhibition, and a photo of one of his paintings. It is inscribed with a note from Hall.
Moses Adams Jr.'s sculpture depicts a kangaroo mother with human-like hands and breasts. The clasped hands under the open pouch signify protection. Detailed, oversized hands are characteristic of the work of John Biggers and his students. Additionally, mothers of various forms and species are a common subject of the student terracottas from Texas Southern University.
Lloyd’s scene closely focuses on three faces wracked with strong feelings. In the foreground, an angry man reaches out, while the middle figure turns completely inward, and the far right figure is deep in thought. These emotions are heightened by the dark hues in the composition.
Jones’ senior notebook includes his written philosophy of art, photographs of the artist’s works and his process, and a copy of his senior exhibition brochure. As a part of the Texas Southern art curriculum under Dr. John T. Biggers and Professor Carroll Harris Simms, students would create these notebooks to explain their artistry and showcase the works they created as students.
This bust is a self-portrait of the artist. Jones depicted his face with sharp features, high cheekbones, and protruding veins near the brow line. The crown is adorned with spiral motifs, dots, and rolled clay. Atop is a shrine structure, with a turtle within. Turtles and tortoises are often used to symbolize longevity. Students were encouraged to adorn their self-portraits with additional embellishments.
Jones' self-portrait has a piercing facial expression and displays protruding veins near the brow line and a direct stare from the eyes. The crown is adorned with a spider and the outline of a web along the scalp, along with a spiral near the left ear. The design may have been inspired by Spiderman, who debuted in comics 8 years earlier.
Tinker's painting is a self-portrait of the artist wearing her hair in an afro and a tunic draped over one shoulder. A golden halo emanates from behind her afro, attracting the viewer's eye to the center. As a part of the art curriculum, students would create various self-portraits. Tinker continues to practice art and is now based in Boston.
In this interview, Texas Southern art alumnus Johnetta Tinker discusses her experiences as a student in the class of 1972. As a student, she worked closely with Dr. Biggers and would sneak into his studio to watch him work. She recalls a strong sense of camaraderie with her classmates. After TSU, she was mentored by Boston artist Allen Crite.
This photograph by Earlie Hudnall, Jr. shows John Biggers being inducted into the Order of Kilimanjaro, an award given to him by the African Union at an event in Houston. Africa and African roots were essential parts of Biggers' art and teachings. He is often credited as one of the first African American artists to visit Africa and begin to incorporate African art and traditions into his art.
