This itemset features artworks from the University Museum at Texas Southern's collections that were created by students in the 1970s using a geometric style. Alumni have recounted how John Biggers taught using broad themes, and geometric/cubist painting was one of those during the 1970s.
Curated By
Ben Schachter
Contributing Institution
Texas Southern University
Identifier
HCAC.TSU.IS.008
Rights
All rights held by the University Museum at Texas Southern. For permission to publish, distribute, or use this image for any other purpose, please contact University Museum, Texas Southern University umuseum@gmail.com Attn: Museum Director. Materials not created by Texas Southern University may still be under copyright. Additional materials may be presented for educational and research purposes in accordance with fair use under United States copyright law.
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Lloyd’s painting depicts the facade of the historic Wesley Chapel AME Church, founded in Houston’s Third Ward in the 1870s. The landscape and sky are painted in geometric form, commonly found in 1970s TSU student artwork. The church is set to be renovated and turned into a multi-purpose complex with a gospel music museum, recording studio, and affordable housing units.
Donato’s painting portrays an elderly woman feeding hungry birds. This particular geometric style of painting is characteristic of students of Dr. Biggers who attended Texas Southern in the mid-to-late 1970s. The mother-child relationship is a common motif in the artwork of TSU students, usually a human mother and child or an animal mother and child. This painting seems to be unique in its depiction of a cross-species maternal relationship.
Sampson’s mural study depicts Mother Nature surrounded by birds, turtles, trees, fossils, and an expansive blue sky. 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. Apart from some minor changes, Sampson’s final mural replicates the design in this earlier draft.
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.
This painting by Roy Vinson Thomas is a landscape piece depicting a tree stump and mushrooms in cubist style. Cubism depicts forms using multiple geometric shapes to create depth. Many works in Texas Southern's permanent collection, particularly from the late 1970s, use this art style.
This painting by Jesse Sifuentes shows a landscape scene featuring cactuses. Several TSU art alumni have recalled that Dr. John Biggers taught them based on themes more than techniques. Many works from the 1970s use geometric styles, perhaps a reflection of lessons from the time. Sifuentes went on to become a ceramics professor at Texas Southern.
Sifuentes shows multiple generations of a family, painted in a geometric style. Sifuentes borrows visual symbols from his teacher, Dr. Biggers, including the tortoise (longevity) and the serpent (danger and rebirth). Guardian ancestors are represented by figures with angel wings.
This abstract work features three distorted cows’ faces that seem to be staring upwards and at the viewer, against a colorful triangular background. Vital was an art student at Texas Southern and later went on to become a faculty member in the art department. Many works in the school’s collection, particularly from the 1970s, use cubist styles.
