A Collection of Republic of New Africa Documents intended to persuade the United Nations to recognize the Republic of New Africa (RNA). The RNA was founded in 1968 as a Black nationalist and Black separatist movement. The documents include maps of the RNA, a memorandum to the United Nations, and a letter to President Gerald Ford.
This sketch by John Biggers is part of his planning process for his mural in Christia V. Adair Park, named for an iconic Houston civil rights activist. As part of this project, Biggers also designed a pavilion to contain this mural, drawing inspiration from the homes of the Dogon people of Mali. The mural itself features scenes from Adair's life interspersed with Biggers's own Afrocentric iconography.
This is a brochure from Lawndale Art Center advertising, among other things, the Otabenga Jones & Associates’ exhibition Symmetrical Patterns of Def. Made up of members Dawolu Jabari Anderson, Jamal Cyrus, Kenya Evans and Robert A. Pruitt, the collective was formed to harness the group's creativity and provide them an entry-point into the art world. The four met and became friends in Harvey Johnson’s drawing class at Texas Southern University.
Dr. Eddie Jordan, Sr., was a Southern artist from Wichita Falls, TX. "African Decree" is a metal sculpture of a humanoid figure. It has two legs with feet that stand on stilts and a middle section of the body with vertically stacked bolts. Sculpted metal parts extend to mimic arms, and the spiraled metal pieces represent coiled hair.
Dr. Eddie Jordan, Sr. was a Southern artist from Wichita Falls, TX. "African Female and Animal" is a wooden assemblage of its namesake made from repurposed furniture.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. "Dissipation," the third panel in the Art of the Negro mural series, portrays the theft and disruption of African art and culture by Europeans through colonization.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. "Influences," the fifth panel in the Art of the Negro mural series, conveys the role of traditional African art in the development of 20th-century Western art movements.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. "Interchange," the second panel in the Art of the Negro mural series, depicts Africans exchanging knowledge of arts and sciences in antiquity.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. "Muses," the sixth panel in the Art of the Negro mural series, presents a canon of seventeen male African diasporic artists from the 13th-20th centuries alongside their medium.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. "Native Forms," the first panel in the Art of the Negro mural series, illustrates the range, diversity, and function of art in traditional African societies.
Hale Aspacio Woodruff was an artist and art educator known for his murals, paintings, and prints from Cairo, IL. "Parallels," the fourth panel in the Art of the Negro mural series, shows the innate connection between non-European indigenous cultures despite geographic divisions.
Romare Bearden was an artist, author, and songwriter from Charlotte, NC. "Atlanta Mural" is a maquette of a mural created for City Scenes '76-'77, the National Paint and Coatings Association bicentennial. Bearden includes the Kente symbol, Dr. Martin Luther King Jr's head, the silhouette of a Black family, a church, and a plot of land to represent the African American influence in the city.
Remble's drawing portrays renowned Mardi Gras Indian chief David Montana. Mardi Gras Indians refers to Black New Orleanians who draw from Creole, Indigenous, African, and Afro-Caribbean tradition to develop a unique form of visual culture and resistance. Remble, a Texas Southern graduate, was born in New Orleans and later moved to Houston. In his own words, he aims to "explore and preserve the diverse subcultures of the American South" through his art.
This radiant work by Oliver Parson engulfs the viewer in the spiraling flow of a smiling woman's silky headwrap. The headwrap is a fashionable method of hair protection and expression of identity that is shared among women across the African diaspora.
Lois Mailou Jones was an artist and art educator known for her costumes, textile designs, watercolors, paintings, and collages from from Boston, MA. "Egyptian Heritage" presents a genealogical and cultural heritage between contemporary Black people and Ancient Egypt. In the background, Jones uses Ancient Egyptian scenes and hieroglyphics. The painting is indicative of contemporary ideologies that reclaimed African heritage through Egypt.
Irene V. Clark was a diasporic folklore artist from Washington, D.C. "Five Centuries Ago" depicts Black warriors preparing for battle. In the lead is a man on a horse holding a weapon with an animal by his side. He faces the warriors who follow him as they march under a dark blue sky.
This drawing combines elements of traditional African sculpture and futuristic motifs. The figures’ faces resemble Ashanti akuaba (fertility dolls). The seated mother with a child is also a common motif in African sculpture, as seen in some works from the University Museum’s collection. The figures’ hair textures suggest a more futuristic design.
Wilay Mendez Paez is an Afro-Cuban sculptor and collage artist. "Guia Eliptica, 2018," is a mixed-media collage piece compiled with found objects. Wilay completed it during an Artist Residency at Clark Atlanta University Art Museum, where the museum's permanent collection inspired him.
This photograph by Earlie Hudnall, Jr. shows John Biggers seated on a bench near Texas Southern's Fairchild Building. He holds a mother & child sculpture in his left hand and an Aunt Dicy sculpture in his right. A mammy doll is seen to his left on the ground. In 1955, Biggers illustrated J. Mason Brewer's version of the African-American folktale, Aunt Dicy Tales: Snuff-Dipping Tales of the Texas Negro.
A commentary on the conflict between technology and progress, history and culture, Davis painted this mural in response to the destruction of several Hannah Hall murals to create windows into a new computer lab. Davis’ own mural was later damaged by subsequent construction, as foreseen in its design.
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.
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.
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 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.
A multi-colored button with a picture of Nelson and Winnie Mandela. Nelson Mandela was an anti-apartheid activist in South Africa. After being imprisoned for 27 years due to his African Nationalist ideology, he was released in 1990 and led efforts to end apartheid. He was elected president in 1994 in the country's first fully democratic election.
The program for the celebration of Marcus Garvey's 104th birth anniversary. Garvey was founder and first President-General of the Universal Negro Improvement Association and African Communities League (UNIA-ACL). The program is labeled as "First International Seminar on the Afrikan World" with the theme of "Afrikan people of the world we are one."
A button with a sketch of a photo of Nelson Mandela. Nelson Mandela was an anti-apartheid activist in South Africa. After being imprisoned for 27 years due to his African Nationalist ideology, he was released in 1990 and led efforts to end apartheid. He was elected president in 1994 in the country's first fully democratic election.
A gold button with a drawing of a broken shackle and chain with the text "Remember Soweto June 14 March Against Apartheid." On June 14, 1986, 40,000 people rallied in Central Park in New York City to call on President Ronald Reagan to impose strict economic sanctions on the government of South Africa as a means to ending apartheid in the country.
Margaret Taylor Goss Burroughs was an artist, historian, teacher, and writer from St. Rose, LA. Ribbon Man: Mexico City Market is a watercolor scene of a mother buying ribbons for her children. The ribbon seller joyously sells his colorful ribbons in the middle of a market in Mexico City, MX.
