Mendoza's painting depicts an expecting mother gazing into the distance and wearing a traditional Mexican rebozo. Mother and child is a prevalent theme in art by Texas Southern Art Department students, and the theme is found in drawings, sculptures, murals, and paintings.
Parson’s painting shows a young girl shielding her face. To the left, a crow holds a coin, to the right Jesus is crucified, below a perched crow. The crows may allude to Jim Crow, which made racism law from after the Civil War until the 1960s; crows are also a symbol of death.
Oliver's painting depicts an accord between settlers and a group of indigenous Americans. Colonizers consistently broke their agreements with tribes, and took more and more land from them. Indigenous peoples of the American Southwest are frequent subjects of Oliver's work.
Oliver's painting depicts vanguard Black politicians from the Reconstruction period following emancipation. Radical Reconstruction saw the election of dozens of Black lawmakers in former slave states like Texas. After 1897, Texas didn't elect another Black legislator until 1966.
Ellison's painting is a nature scene featuring a bisected tree stump, with untamed growth all around it. At the bottom of the painting, there are several seashells, which the artist enhanced with raised, textural elements. Ellison was a TSU student during the Civil Rights era.
Vital's painting depicts a bird feeding a worm to its three offspring, reflecting the theme of mother & child that often appears in TSU student work. The artist often featured animals and nature in his work. After his graduation, Vital taught art for many years at Texas Southern.
Oliver's painting depicts a group of men marching and playing drums and flutes, seemingly as part of a military expedition. The red sky in the background seems to forebode violence and bloodshed. Oliver's works often reference Biblical and ancient mythological stories and themes.
This painting by Edward Mills depicts an older Black man sitting and reading a newspaper. The dimly lit scene is minimal and the man, his chair, and the paper are the only objects in the painting, highlighting the focus of the painting. The artist cleverly uses real newspapers.
This watercolor painting by Frank Perkins features a scene at a baseball stadium. This work may be an homage to the Negro Leagues, which offered Black baseball players the chance to play professionally prior to Jackie Robinson's integration of Major League Baseball.
This painting by Charlene Claye shows a group of three people, including at least two women, fishing by a pond. This painting highlights one of the many types of labor Black women perform to support their families and communities.
This watercolor painting by Joseph A. Moran features a grazing cow in the foreground and an outhouse and farmhouse in the background. Dr. Biggers encouraged students to create based on what they saw, which may have been this rural scene for this artist.
This detailed painting by Barry Morris includes a pair of hands rising up and clasping a bird. There are also bundles of wheat and a set of vessels. Pairs of detached hands are a repeated motif in the artist's work, including in his mural in Hannah Hall.
This painting by Jesse Sifuentes shows a landscape scene featuring cactuses. Several TSU art alumni talk about how 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.
Ricky Donato's painting shows onlookers of various ages gazing with concern at a man who is bleeding and wearing a cross. This is likely an allegory for Jesus, often portrayed bloodied from the crucifixion. Imagery of "Black Jesus" counters iconography of a fair-skinned Jesus.
Erma Gordon's self portrait shows the artist from three different angles. The three profiles are tied together by a light, almost translucent fabric that is worn by the frontmost figure and held by the others. This motif is used repeatedly by the artist, including in her mural.
This painting is an Afrocentric self portrait of Earl Jones, who attended Texas Southern University in the mid-1970s. Jones painted himself wearing a detailed shirt with various patterns reminiscent of African textiles. The background includes round homes with conical roofs.
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.
This small ceramic vessel created by Simms has a green hue, with a brown base and white-glazed lip and interior. Simms believed pottery to be an equally important artistic pursuit to sculpture, and was encouraged to hear pottery was held in the same regard in West Africa.
This large, brown ceramic plate created by Simms features multiple textures, including a bubbling glaze covering the most of the top of the piece. Simms' decorative artworks remain in high demand by collectors.
This small ceramic plate created by Simms is made from a red clay with a white, bubbling glaze. It has slightly raised, curved edges. Simms' decorative artworks remain in high demand by collectors.
This large, oblong ceramic plate created by Simms has a red glaze. This piece is among those that Professor Simms chose to feature in the 1976 book he co-authored with Dr. Biggers and John Edward Weems, Black Art in Houston: The Texas Southern Experience.
This large ceramic plate created by Simms features multiple textures, including a bubbling glaze covering the most of the top of the piece. Simms' decorative artworks remain in high demand by collectors.
The face mask is from the Dan ethnic group which shares the Cote d'Ivoirian and Liberian border and is spiritually charged. The mask has simple facial features with slits for eyes and protruding lips and has many purposes like being worn by dancers, athletes, and warriors.
Case Data and Exhibits for Brown III, a relitigation of Brown v. Topeka Board of Education (1954) that corrected resegregation issues caused by open enrollment school choice in 1992. Document to the plaintiffs from the defense answering questions about predecessor districts. The defense says that it’s impossible to pinpoint any older districts.
A complete historical breakdown of the effect of administrative decisions on the racial makeup of Topeka schools. Includes full reports on every school in the district as well as analysis on decisions made by the school board and administrators.
