“Art Play Date” at the Terry McCormick Gallery

Children ages 4-12 attend Evelyn Patricia Terry's Art Play Date.

As we grow older, we often fixate on other people and thus cannot focus on goals that we originally had. I have done so in the past and many people around me do so now. We lose ourselves in the whirlwind of wanting to be loved, wanting politics to go our way or wanting what someone else has. We grow disappointed in the world, we think, but we’re really disappointed in ourselves for not disappearing the “piles of disappointments.” Our anger creates so much insecurity. We, afflicted ones, believe that it is exclusive only to our lives and the worse is that we believe that there is no way to change or adjust our prognosis. I needed options to change. I received them. That is what I pass on to others.

I take my cues often from children. Children between birth and 7 years old unabashedly want what they want. They might hear “no” a lot, but they are determined—thus, the tantrums. Later on, in varying degrees, they begin to think that what they want may not be forthcoming, acceptable or possible. Some devise schemes, some give up – the fortunate ones are given options.

That’s why I hold “Art Play Date” in my space, the Terry McCormick Gallery. I teach children, and their parents and grandparents who must accompany them, to access their creativity in the visual arts, as they are introduced to and learn more about healthy food choices. My watercolor and mixed media workshops encourage individual thinking, exploration and exposure to a wide range of art supplies. In past workshops, I have also introduced juicing raw vegetable with apples and blending frozen fruit smoothies. In the summer, frozen berry and banana smoothies are not only a healthy treat, but very refreshing.

Children making art at the Terry McCormick Gallery.

At my last “Art Play Date,” in February, we created mixed media brooches and works on paper. The children and their parents enjoyed vegan chili, somosas, hummus and chips, and lots of raw fruits and vegetables. Attendees must learn to eat raw healthy snacks, so that they can enjoy finishing with a dessert–blueberry, strawberry, apple and walnut pizza pie. My goal is to promote what is within our control and dwell less on what is outside of our control. We can start with honoring our bodies and strengthening our connection to our creativity.

I thoroughly enjoy working with children, just as I do with people of all ages, because my goal is to maintain an atmosphere that allows people to go within to access their creative strength. I believe we must teach children possibility thinking—encouraging them to search for and develop options. Teach children they must not demand that others get something for them, be something for them, or know what they want. Rather they must learn to create ways to get what they want–it is their responsibility to keep their eyes on “their prize.”

Frequently, young children ask me, “Why do I have to do anything your way?” I always answer them honestly as I can. Which is, “Because I created an opportunity for you to learn something new–you can go home and do it your way after this session.” When visiting schools, I often add, “I was paid to be here, why would someone pay me to teach you what you already know?” They usually decide to learn whatever it is I am teaching. Many times after they follow directions and attempted a project, if there is time, I let them do it their way.

A young artist participates in an Art Play Date in February.

My “Art Play Date” allows me to share the knowledge I attained much later in my life–knowledge I feel would have been very valuable to have known at a younger age. I have always loved receiving information as a foundation to better navigate life. Believing that there are others like me, younger and older, my gallery’s “Art Play Date” opportunities are my way to share creative freedom from other people’s opinions. This freedom has allowed me to create unabashedly. Because we still have many opportunities to access creative outlets in Wisconsin, we must make sure that we support them by utilizing them.

–Evelyn Patricia Terry
www.evelynpatriciaterry.com

Jim Godsil: Rainbow Street Party of “100 Names”

Noon gathering at Riverwest Co-op and Café. Photo © by Lee Matz.

With the assistance of wonderful weather, over 400 nurturing relatives and friends arriving during the course of the day, Milwaukee’s Jim Godsil celebrated his 70^th birthday on August 22. Affirming his uniquely inclusive style, the festivities began with a relaxing bus tour and concluded with Godsil’s festive Southside Rainbow Street Party of “100 Names.”

James Godsil at his 70th year birthday party. Photo © by Lee Matz.

The date chosen honors the following important organizations in Godsil’s life: the 40th year of Community Roofing and Restoration – the main event sponsor, the 10th anniversary of the Milwaukee Renaissance Wiki Magazine, the 5th anniversary of the Sweetwater Foundation and the one-year anniversary of Heart Haus, the tour’s final destination.

Intermingling from “hither and yonder,” guests appeared representing diverse family members, community advocates, gender diversities, artistic professions, religious persuasions, political interests, age and education ranges and class designations.

“All I wanted to do was expand the value of my 70th birthday to include jump-starting a rainbow artist and adventurer boundary-crossing drum-bus party experiment,” Godsil said. “I hoped to introduce European Americans to the wonderful neighborhoods, galleries and studios of African American artists on the North side and introduce African Americans to a south side European American neighborhood. I hoped to mix up all of God’s children with good food, good drink, good music and a street party celebration and it worked!”

Purple Cow Bus at Riverwest Coop. Photo © by Lee Matz.

Starting at noon, Godsil greeted his first round of bus riders as they gathered at Riverwest Coop and Café to board the 71-seat capacity Purple Cow Organics Bus donated for this event by Sandy Syburg. Traveling from all parts of the country, Godsil welcomed the attendance of his children Rachel, Megan, Joseph, and Bridie, as well as grandchildren Kate, Rebecca, Monilola, and Darragh, sons-in-law Jim Freeman and Ok Jeyifous, sisters JoAnn and Jean, and brother-in-law Joe Werth.

Tony Finlayson shared rhythms on the bus. Photo © by Lee Matz.

Bused to the Northside – Part 2

On the bus, Jahmés Tony Finlayson’s adept drumming established a comfortable ambiance. Marquette University’s Bob Pavlik, Riverwest backstreet Mayor Vince Bushnell and Seton Hall Law Professor Rachel Godsil joined 40 Riverwest activists.

The tour’s initial stop was Mother Clara Atwater’s and Toussaint Harris’ Gingerbread Land, which included several brightly colored houses and Atwater’s Love Tabernacle church. There another ten people boarded the bus..

Gathering in Mother Clara’s Gingerbread Land. Photo © by Lee Matz.

The “rainbow” busload proceeded further into Milwaukee’s north side central city to explore additional treasures. The next stop was the Terry McCormick Contemporary Fine and Folk Art Gallery, located in Evelyn Patricia Terry’s two-story home.

Fondé Bridges passing out his Healthy Words sayings as the gallery visitors exit the bus. Photo © by Lee Matz.

Godsil said, “We feasted upon Fondé Bridges’ healing “Healthy Words” performance as Terry’s gallery greeter. The tour party went inside the gallery filled with room after room of beauty and listened to Evelyn’s great stories, which she continued after she boarded the bus to join the tour.”

Two young visitors to terry’s gallery. Photo © by Lee Matz.

Passing by Dep’s Hall of Fade and proceeding west to Lisbon Avenue, the bus unloaded its passengers to view Muneer Bahauddeen’s Ogbe Meji Studio exhibiting his finely crafted ceramic art. Some viewers momentarily slipped into the Amaranth Café across the street to buy a quick treat. Bahauddeen spoke outside to visitors about his vision to create an Amaranth Urban Sanctuary. Everyone participated in Finlayson’s Drum Bus Circle and sang Godsil’s birthday song before boarding the bus with new riders.

Muneer Bahauddeen’s captivating ceramic studio. Photo © by Lee Matz.

Bused to the Southside Finale – Part 3

Introducing Milwaukee’s Southside, the tour bus entered the site of the Old Main Soldiers Home Reef National Historic Landmark. Cleo Pruitt, who met us there, gave a moving tribute to forgotten soldiers of color as founder of the Rebirth of Freedom Project. She explained her vision of a future monument to them. Godsil observed, “The site astonished people with the terrible beauty of that sacred place.” Ms. Pruitt later joined the street party.

Cleo Pruitt explaining her Rebirth of Freedom Project. Photo © by Lee Matz.

As the finale, Ben Kohler’s Heart Haus team impressively hosted the Southside Rainbow Street Party of “100 Names.” “Foolosopher” Sky Schultz, in white cloth, silently greeted enlightened bus riders – arriving an hour late without complaints

Foolosopher Sky Schultz welcomed the riders.  Photo © by Lee Matz.

Poet Christina Zawadiwsky reads poetry. Photo © by Lee Matz.

Joining the party already in progress, the travelers settled in to participate in the merriment. They listened to award-winning Christina Zawadiwsky read poetry within the shadow of a specially constructed street stage. Howard Lewis, Holly Haebig, Dena Aronson and Jay Anderson provided music.

Muneer Bahauddeen on the right offering hands on art lessons. Photo © by Lee Matz .

Internationally collected artist, Della Wells and her great grandson, Momari Dejohnett, visited  the designated inter-generational play area and Bahauddeen’s Peace Post Clay Table.

Tim Green record scratching. Photo © by Lee Matz.

Occupying a corner of the Heart Haus porch, Tim Green skillfully scratched records and played a range of music, welcoming revelers as they gathered “food and drink” from the house. Tables covered with Cheryl Sitzler’s African patterned tablecloths transformed the space.

Scrumptious rainbow entrees came from The Riverwest Coop Café, Juan’s Mom’s Tamale, Curt’s Chicken, Timbuktu and Martha’s Mighty Fine Foods. Janine Arseneau placed her six freshly baked fruit pies on a table in the street.

Janine Arseneau’s delicious fruit pies. Photo © by Lee Matz.

Brad Pruitt, an awarded documentary filmmaker, directed filming of this historical event.

Brad Pruitt speaking during bus tour. Photo © by Lee Matz.

Enjoying every moment, along with his guests, Godsil noted, “A European American retired doctor told me it was the most significant trip he had ever taken. An African American elder said it was a life-changing experience to see 20 and 30 African Americans celebrating with scores of European Americans in a south side residential neighborhood.”

Godsil’s Rainbow Street Party of “100 Names.” Photo © by Lee Matz.

Revelers delighted in the impact of Godsil’s mindfulness as a community and world force. Many openly expressed appreciation for Godsil’s refreshing wisdom, activism, buoyant nature, enthusiasm, supportive language and visionary joyfulness. He plans many more celebrations until his 100th birthday!

Evelyn Patricia Terry Photo © by Lee Matz.

Evelyn Patricia Terry wrote this blog. Jim Godsil’s interest in associating with creatives of like minds from many facets of the community particularly impressed her. Volunteer editors and proofreaders are welcome and needed as artists continue to strive to increase our state’s art profile. Reach her at the email address terryevelyn@hotmail.com with any corrections. Plus, because hacking into websites happened, Terry is reconstructing her website.

Leslie Smith III: I want People to Just Get It

I missed the introduction to the “rapid fire” lecture of UW-Madison professor and painter Leslie Smith III. Smith, in full force, as I entered the dark auditorium, showed little inclination to slow down. Immediately captivated, my senses prompted me to pay very close attention and strive to comprehend every word. I searched for a pen and paper to assist in increasing my chances of taking it all in and to also ” get it.” His choice of words fell on my ears as magic even as I missed chunks of phrases and bits and pieces here and there.

I instantly traveled back in time to my days as a UW-Milwaukee art aesthetics and philosophy student in the classes of Professor Haig Khatchadourian and much later as a student in the classes of Judith Russi Kirshner, then my professor at the School of the Art Institute of Chicago and a contributor to Art Forum. Khatchadourian’s and Kirshner’s command of aesthetics and delivery excited and gained my rapt attention. Smith’s command of aesthetics and delivery intertwined with his artmaking, inspired that same awe.

Smith provided glimpses into his educational background, museum exhibitions and assorted processes influencing the thought-provoking abstractions. He shared narrative observations and interpretations of sometimes quirky private dramas and interpersonal relationships. His real life references definitely distinguished themselves in the abstract paintings. Without these associations, the actual connections to pieces like “Piss Chair,” “Hungry Boy” and “You First”  remain with Smith. The uniquely personal references provide insights when the viewer needs them and when the artist desires, in some way, to provide them. Smith’s increasingly asymmetrically shaped canvas paintings, gestural brushstrokes and bold colors stand solidly alone as strong aesthetic images. My notes, following the artwork titles, reveal what I heard as Smith’s aesthetic concepts and welcomed as his references.

“Piss Chair” 96 x 108 inches, Oil on Canvas 2008

“Piss Chair”
In the white lawn chair we ate watermelon and barbeque/Legs and high heel shoes/Psychological aspects/Objects that function with little reference
Emotional Gravitas borrows language/language/isolates it from the language of object/You have to work with what you know. Work has to be more about me/How you tell the truth.

“Hungry Boy” 40 x 40 inches, Oil on Canvas 2011

“Hungry Boy”

Hungry for work, Hungry for time, Hungry for a studio Infatuated with the romance/synthetic life of NY/Find objects that I can re-contextualize -find what I wanted/ I was asked, “Have you thought about Philip Guston?” It helps to organize the canvas/I thought about separating the making of a character from the act of creating the painting/I start out not knowing what they are all about/I’m interested in investigation/all the conditions of a painting/Dealing with the role of color, dealing with narrative/I thought about separating the making of a character/from the act of creating the painting/I start out not knowing what they are all about/I’m interested in investigation all the conditions of a painting/Dealing with the role of color/Dealing with narrative.

“Window” 24 x 24 inches, Oil and spray paint on Canvas 2010

“Window”

What came out of it is collapsing the space/Factor into a larger context/27” x 27” paintings/Infatuated with inanimate objects about the physicality of painting/How to not make it figurative/Make it volumetric/I realize that I just made a window/It reflects light with its metallic under-painting/I enter into an architectural space/Artist – Fra Angelico/He could negotiate space/Investigating Fra Angelico led to windows/Changing ways of studying subtle narratives and suggestion/“How Long has this been going on?/The Morning After”/Red hue is necessary for trying to solve the problem/Hard to quantify the saturation of color/Set within dream space/elements may float or exist in a semi-real space/I am interested in specificity and a certain reality/I want to create a sense of familiarity/I dream too much.

“You First” 26 x 26 inches, Oil on Linen 2012

“You First”

Do you know “Coming to America?”/Jerry Curls, Jheri Curls, Uncle’s/You first integrate multiple characters/Jerry curl juice/sweat.

“Self” 26 x 26 inches, Oil on Linen 2011

“Self”

Annual self-portrait/Gestural characters clouds or a mop/Working around the peripheral/Strike a theme until I exhaust it/“Viennese Waltz”/Relationships with closest friends are closer or more like family than your real family/Dancing with the stars.

“Sticks Stone or Drones” 72 x 96 inches, Oil on Canvas 2012

 “Stick, Stones, and Drones”

It was great, I liked it/But it did not satisfy what else I’m missing/A post-modernist painter/Everything is apologetic/Everything is working together/I wanted to give my painting the same kind of complexity/“Philip Guston at work in his studio”/he did not want to understand what he was painting/I think about the contextualizing/I do want to understand it and demystify things/Canvas/frame/Potent reason to allow the painting shape/once a square/Then disfigure/dis-invigorate it to a hump form/What the contradiction was/Contradicting realities.

“Night Baptism” 42 x 42 inches Oil on Shaped Canvas 2013

“Night Baptism”

I flew to … the east coast to be re-baptized, it happened at night with about/6-7 little bitty people, then I flew back/“Drift Studio” carpentry/ Were all forces and working mechanisms/Equal and opposing-canceling each other out/Cyclical unsolvable realities/ Societal and cultural/Drawings are subsidiaries to the/Building off the idea of/Locked on and found if you lose it.

 

“Best Kept Secret,” 48 x 48 inches Oil on Shaped Canvas 2013

 “Best Kept Secret”

 Under a vail/Broken fractured/Night                 twitch shows up/Things that show up/The  politics of dealing with human  dispositions/All the others become more  complicated/I deal more or less/These  objects/I want to take a more direct  approach/Moved back into just letting things  go. I order two or three shapes at a time because I don’t know what to do with them/A juxtaposing element of form not fitting that way/I just fuss with them until they kind of meld together/Post-minimalism neo-geo/My personal experience, an absence of self/The work becomes lost in the conversation/Big elephant in the room/packed with a certain amount of familiarity.

Untitled work on paper, 26 x 40 inches, Oil on Chromcoat paper, 2014

“Untitled”

Oil on Chromcoat paper/I can’t contextualize it/Something about these gestural painting/ Night Orchestra/Not figured out what that means/I just think it’s cool/Just needed something black to offset the newness/Want to make a painting that lifted those shapes up/The African American Abstract exhibition in Texas/The curator did such a good job of making me see the relationship my paintings had to abstraction in a multi generational context/I don’t believe mine are truly real abstractions/They are personified gestural subtle narrations of painting speaking to one another/I am working on more Chromecoat paper/their likeness helps fortify the shapes/I want people to just get it/A bad idea/My wife has told me no one can read my mind/unrealistic/my titles connect.

by Evelyn Patricia Terry

Terry received one of the Milwaukee Arts Board’s 2014 Artists of the Year Awards (along with Barbara Leigh), please contact Terry for juror, lecture, curator, commission, or workshop requests at terryevelyn@hotmail.com or visit the web page evelynpatriciaterry.com/news for more information.

 

 

 

Bernard J. Roberts: A Curatorial Treasure

“Current,”  Bronze, 26″ x 42″ x 25, 2004

My strong attraction to several fluidly carved wood forms, bronze sculptures, white Gessoed brightly colored wood constructions, and heretofore unknown textures created by powder bug infestations, enticed

Untitled Stick Form
 Powder Bug Wood and gesso
33″x 21″ x 11″
Circa 1993

me to repeatedly visit the gallery exhibition Out of the Forest, Into the Furnace – Bernard J. Roberts Bronze and Wood Sculpture. Continuing through December 26, 2012, Roberts’ passion for and exploration of his obvious muse “nature” inhabits every piece.  Worthy of his zeal, Vanguard Sculpture Services masterfully provided the extraordinary vision, teamwork, expertise, and “elbow” grease, demanded to bring this exhibition into fruition.

Bernard J. Roberts’ death, on July 19, 2011, greatly impacted and delayed plans for his retrospective at Vanguard’s gallery space – then under construction. Curated by gallery director Beth Sahagian, Roberts’ exhibition opened, a year later, July 24, 2012 in “THE GALLERY,” a pristine space deftly conceived and built by Shagian’s husband, Ed Sahagian-Allsopp and Vanguard’s staff.   Sahagian and Mike Nolte, Vanguard Sculpture Services founders, lead by Roberts’ son Aari and daughter Andrea, selected 150 art pieces from his estate. Sahagian and Nolte effectively guided foundry artists Tom Clark, Chris Andrews, Care Ekpo, and Ed Sahagian-Allsopp through cleaning and restoration of at least 110 pieces. The team’s masterful skills and curatorial decisions result in an intriguing visual presentation of Roberts’ stunningly seductive abstract carvings and bronzes, exploratory ceramics, whimsical assemblages, and conceptual constructions.

Untitled Bowl Form. Carved White Oak, 4″ x 12″ x 8,” Circa 1978

From his published biography, he was the first of his siblings to earn degrees. Beginning at University of Wisconsin-Steven’s Point in wildlife ecology, he realized his passion for art and transferred to the University of Wisconsin-Milwaukee, earning a Bachelor of Science in 1960; a Masters of Science in ceramics and sculpture in 1966; and finally completing his formal education  with a Masters in Fine Art in 1969.    He married, raised two children, taught school, and finally settled on creating artwork from 1992 onward. Over the years he showed widely in galleries and museums throughout the Midwest. His work resides in the permanent collections of the Neville Public Museum, Milwaukee Art Museum, and the University of Wisconsin-Milwaukee.   Over 400 hand carvings and assembled wood pieces reflect his

“Yellow Germination”
16″ x 22″ x 15”
Wood , foam and paint
Circa 1988

interest in mitosis, waves, seedpods, growth, ovum, male and female forms, topography, and germination. As an avid naturalist, craftsman, teacher, and restorer of prairies, his lifelong stewardship of native Wisconsin prairies and forests coincided with his fervor for making art.

Storage Barn on the Robert’s estate.
Photo courtesy of Vanguard.

Sahagian added, “He bought a barren farm and planted 15 acres of arborvitae and black walnut trees making the entire property a forest and simultaneously fodder for his art. Pulling trees out of the ground, he threw them into the swamp to loosen the bark, bugs, and dirt. Then after sun drying and bleaching, Bernie stored them from floor to ceiling for future use along with his plethora of collected objects, unfinished sculptures, and countless boxes of ideas sketched on anything.” Aari, said, “He was always making art.”

Sahagian frequently spoke with Roberts, who in 1998 became one of Vanguard’s earliest clients. Offering important insights into his background, she said, “Bernie built several barn- like structures for studio space including a home for his family. Every surface seemed to be touched by his creativity, including textured ceilings, unique flooring, wood furniture, light fixtures, functional wood bowls, spoons, and even carved jewelry. Everywhere, one sees something unique. For example, known for a great sense of humor, between the house and his vegetable garden he poured a curvilinear sidewalk in the shape of a woman and planted a triangular grouping of forget-me-nots, appropriately, between the thighs and the navel.”

“Centipede Table,” Honey locust wood, 17″ x 50″ x 22,” Circa 1972

Curating her first retrospective and solo exhibition, Sahagian

“Hurdler of Hearts,” Wood , Gesso, paint, 23″ x 32″ x 8″ Circa 2009

quickly developed new insights into both the artist and his artwork, as did other Vanguard artists. She believes this is because Roberts always delivered one style of work to the foundry for casting. She said, “The sheer number of pieces, diverse styles, and materials completely changed the way I saw his studio practice. I was touched emotionally by the sensitive nature of the subject matter and his love for the materials he used. I often find myself smiling when I think of him pulling the perfect piece of wood off the pile or working on a particular piece. I see now why a person might choose to be a curator, the commitment allows an unusual amount of time with an artist’s work, what better way to get to know someone?”

Visit the website at: http://www.vanguardsculptureservices.com or Vanguard’s Facebook page for current gallery and foundry events and projects. Call 414.444.5508 or visit at 3374 West Hopkins, Milwaukee, Wisconsin

Ed Sahagian-Allsopp photo credit.

Submitted by Evelyn Patricia Terry. She can be contacted for feedback at terryevelyn@hotmail.com with any corrections or editing input.

North Avenue Public Art Bus Shelter “Kindred Ties” Reinstalled

“Kindred Ties” photo before car accident on St Patrick’s Day, March 17. Photo by Avagara, all rights reserved_2011

Milwaukee, Wisconsin  – The “emptiness” next to Bethel Baptist Church disappeared on October 27, 2012, when the Kindred Ties bus shelter unceremoniously reappeared on the site it had inhabited for the past six years. Evelyn Patricia Terry, creator of Kindred Ties, offered her perspective on its importance, explaining that, “Kindred Ties, a public art piece, establishes a sense of place in the African-American community and celebrates nurturing families, spiritual awareness, global knowledge, and educational achievement. Kindred Ties represents our history, culture, values, and what we incessantly speak of – thereby coalescing my ideas, the community’s ideas, and other artists’ ideas to share with the world.”

Located in the busy six points’ intersection of 21^st Street, W. Fond du Lac Avenue and W. North Avenue, the bus shelter’s disappearance March 17th bewildered Kindred Ties artists, employees in Seaway Bank across the street, and many concerned community organizers. “What could have happened?” they asked Terry. Although as a public art piece it now belonged to the community, Terry felt invested and set out to solve the mystery. She eventually tracked it down through Sandy Kellner, Chief Operating Officer of the Milwaukee County Transit System.

Damaged “Kindred Ties.” Photo Courtesy of the MCTS.

Kellner explained that a car, around Saint Patrick’s Day, hit Kindred Ties and the damaged frame compelled immediate removal. In partial view to passersby, it rested in the back lot of MCTS on 17^th Street near Fond du Lac Avenue. After establishing contact with Dean Amhaus, former Spirit of Milwaukee’s Executive Director and Ed Mordy, Spirit of Milwaukee’s financial consultant, a new bus shelter frame was purchased. Millennium Neighborhood Art Initiative, the original project host, provided restoration funds. The funds permitted the unharmed sixteen colorful welded sculpture images to be successfully transferred to a new bus shelter, and the repaired Kindred Ties to be reunited with embedded bronze plaques at the original site.

After seeing it repaired, Terry stated, “The positive energy that Kindred Ties summoned up for its creation and then for its restoration is extremely gratifying and speaks volumes to Milwaukee’s cooperative leaders. And Kindred Ties is much appreciated. Offering unsolicited comments during installation, several transit users told me that they were pleasantly surprised to have such a nice and unique object in their neighborhood. Many were also surprised to learn that an African-American woman originated the concept and secured funds to hire diverse Milwaukee artists and businesses to create the piece.”

Design and conception of Kindred Ties

In a section of Milwaukee where revitalization plans continue, Kindred Ties juxtaposes contemporary art with Bethel Baptist Church’s German-inspired, Gothic Revival Style architecture. Painted in an assortment of complementary colors, two welded and bent wrought iron linear sculptures occupy the interior and exterior of each of the eight glass panels. The abstract sculptures represent the spiritual universe, a family tree, and a three generation family including a grandfather and granddaughter, a grandmother and grandson, a mother, a father, a son with a book, and a daughter embracing a globe. Bronze plaques in the concrete identify the colorful artwork, share seven positive sayings, and celebrate the artists and others who contributed to the public art piece. The two yellow painted ceiling panels represent the beaming warmth of sunshine symbolizing prosperity and radiant health.

One painted top of “Kindred Ties” bus shelter.

Background

Terry strongly desired to produce public art influenced by many of her colleagues nationally who were doing so. The opportunity came after her friend and sometimes mentor Durga Patel spotted a call-out-to-artists requesting proposals for public art in the Milwaukee community. The application process included selecting a community-based non-profit organization to assist with funding. Terry selected the WAICO/YMCA, in her neighborhood, and was fortunate to work with the YMCA’s Economic Development specialist, Mike Stiehl. Stiehl suggested a bus shelter project.

In 1999, Terry assembled a distinguished team of artists: painter Maxine Banks (originated the “family” theme); illustrator and muralist Ras `Ammar Nsoroma (rendered the drawings); architect Theodore Lipscomb (constructed the model); painter and graphic designer Jerry J. Johnson

Mike Nolte installing “Kindred Ties” plaques in 2008.

(designed project sites and presentations); UW – Milwaukee professor emeritus Narendra Patel (provided consulting); sculptor George Ray McCormick Sr. (apprenticed as welder); sculptor Don Rambadt (welded and provided instruction); writer Fondé Bridges (provided seven sayings from his book 101 Simple Suggestions for Better Living),  and both the Milwaukee County Transit System and Mike Nolte of Vanguard Sculpture Services (provided installation).

Terry stated, “I am just glad it’s back.”

Contact Evelyn Patricia Terry at terryevelyn@hotmail.com.

Choosing Change: Raw Green/Watercolor Workshop Part 2

Student painting watercolor inserts for handmade book. Lois Ehlert’s “Eating the Alphabet” used as inspiration.

“Find a way to be a benefit,” my son continually suggested, in response to my constant lament for the return of my lucrative career. I eventually took his advice. By combining years of nutritional research and even more years as a full-time artist, I developed the “Raw Green/Watercolor Workshop,” while applying for an after-school grant opportunity. Drawing upon my interest in watercolor painting, unrelenting enzyme research, and the science of healthy living, this workshop has potential as a universal benefit.

A girl and boy hammer nail holes into book spines.

A Book cover with student’s name and title.

In my previous post, “Choosing Change: Raw Green/Watercolor Workshop,” I described how one of the goals – to provide education about the important connection between raw food, enzymes, and great health – strongly connects to a newer goal – to make consuming raw green vegetables “fun.”  Smoothies, juices, and tasting with dips became sources of “fun.” In this post, art projects are presented as a “fun” way to become more familiar with raw foods.  One watercolor project, the handmade book,allows students to depict the artistic beauty of fruits and vegetables before tasting them. Then health benefits, researched and  printed on labels, are put into their books.

The “trump card”

For students, painting with watercolors can be as challenging as tasting raw green vegetables. They have to acknowledge and accept their beginner’s status. Offering fruit as a tasty “trump card” encourages persistence, especially when painting confidence wanes and students despair or “act out” as a cover up. Offering fruit as a reward, again a “trump card,” also encourages students to taste vegetables, especially raw green ones.

An unexpected outcome, of the workshop, was finding strategies to correct behavior problems. For example, in one class, a student became very frustrated. She first painted the required bright watercolors on a large sheet of paper and suddenly changed to wild erratic black strokes covering most of the colors. She loudly declared it “ugly.” I had instructed students to use the bright colors only. But I told her, “The black paint does not matter and “ugly” has nothing to do with anything.”

Nevertheless, she crumpled the painting, shot it in the wastepaper basket, and stormed out of the room. She eventually returned as we began our tasting session. She asked for more fruit. I requested that she retrieve the discarded drawing and proceed with the assignment to get more fruit and she complied. Luckily, the opportunity to taste raw vegetables, and especially the sweet fruits, helped her and many other students to focus and adjust their behavior.

The “Raw Green/Watercolor Workshop” is interdisciplinary. It incorporates biology, reading, writing, math, science, and visual arts, all while exploring composition, abstraction, page design, color theory, form, and foreground and background relationships in the handmade books.

Evelyn helping Maurice thread a needle.

Fine motor skills—such as painting, cutting folded pages, hammering nails (very loud, but they loved it), threading needles, gluing, and sewing book spines—are developed by various book construction activities. Once completed, the book becomes a resource to share with family and friends. Plus, until its pages are full, more benefits can be added. It reinforces the importance of consuming enzymes, a little known protein nutrient found in raw produce and destroyed by cooking food.

7 year-old Eugene’s book with strawberry and benefit label.

Enzymes can also be found in dried fruits and vegetables, raw nuts, uncooked grains, beans and other uncooked protein foods. Raw green vegetables are emphasized, because students, their teachers, and parents often refuse to eat them.

Combining visual art with tasting raw produce establishes a foundation to enhance creativity, develop self-confidence, and plant seeds for instituting and maintaining health. Consequently, the “Raw Green/Watercolor Workshop” fills in nutrition and art educational gaps, encourages future artists, develops art patrons, and promotes a healthy appetite for daily living.

“The Raw Green/Watercolor Workshop” was awarded a Milwaukee Public School Partnership for the Arts Grant. Matching community funds came from Alice’s Garden, Riverwest Artists Association, Walnut Way Conservation Corp, and Lena’s/Piggly Wiggly. For more information, please email me at terryevelyn@hotmail.com or visit evelynpatriciaterry.com.

– Evelyn Patricia Terry

Choosing Change: Raw Green/Watercolor Workshop

Watercolor painting before tasting fruits and vegetables.

“Skittles, cookies, potato chips, Snickers, licorice, Flaming Hots.” That’s how 2nd and 3rd grade students answered my question “What foods ‘raw’ and ‘green’ do you eat?” Little did I know they heard something other than what I intended.

The puzzle began to unravel when a 3rd grader, lining up to leave class, genuinely inquired, “Ms. Terry, why haven’t I seen you at Walgreen’s?”
Completely baffled, I responded, “Why would you see me at Walgreen’s?”
He said, “My dad takes me there all the time and you are never there.”
Speechless, we stared at each other. I thought, “Does he know how many Walgreen’s there are, and why does he think I should be in any of them?”
Then an epiphany occurred.

A discerning facilitator said, “He thought you were saying ‘Walgreen’s’ as you repeatedly said, ‘raw’ and then ‘green’.” That insightful moment, beginning the Raw Green/Watercolor Workshop series revealed the dearth of knowledge that workshop sessions must address about health. Special emphasis on the importance consuming “raw green” and other colored vegetables have on acquiring and maintaining radiant health is necessary.

Hosted by Barack Obama K-12 School (formerly Custer High School), YMCA Young Leaders Academy and Brown Street Academy, in Milwaukee, The Raw Green/Watercolor Workshop, became the perfect vehicle for me to provide beneficial after school activities to students. Implementing it this past school year, I made a serious commitment to lay the groundwork for eating raw green (and other colored) vegetables by planting seeds toward future growth.  But, one day, I was asked, “Isn’t there some way to make eating raw green vegetables fun as well as healthy?” “No,” I answered. “It takes discipline.” Nevertheless, the question lingered in my mind.

Student, with washed hands, juicing.

Thankfully, final student surveys suggested that I help them to “eat raw vegetables” by providing salad dressings. For future workshops, dips and salad dressings will be added to create “fun” for the taste buds.  For students, after all, the point is to get them to eat raw vegetables. They generally like fruit. By adding small amounts of fruits to juiced raw green vegetables, the possibility of “fun” definitely increases. Smoothies, already fun, can be made healthier, with blander tasting raw green vegetables added. Caroline Carter’s smoothie recipe with pineapple, collard greens, and bananas is a hit with everyone.

This workshop is timely. First Lady Michele Obama stresses health on a national level. In Milwaukee, Will Allen, a 2008 MacArthur Genius Award Fellow, founded the organization Growing Power to promote urban farming.

And just published last month, Karen Le Billon’s  French Kids Eat Everything discusses ten rules to accomplish this. One of them, based on French scientific findings, is that children must taste a food a minimum of seven times to accept eating it. She explains how she ridded herself of antiquated beliefs that her children wouldn’t eat healthy foods. And just think, this indulgence reinforces bad habits and ultimately leads to tooth decay, obesity and acute and chronic diseases. Teachers and parents must begin to offer raw fruits and vegetables instead of offering junk food.

With matching community support, Raw Green/Watercolor Workshop, an art and nutrition program, was awarded funding from the Milwaukee Public School Partnership for the Arts and Humanities grant. The grant is an allocation of $1.5 million approved by the Milwaukee Board of School Directors, to support arts and humanities-related opportunities for children and youth in after school and summer programs.  Alice’s Garden, Walnut Way Conservation Corp., Riverwest Artists Association, and Lena’s Piggly Wiggly provided the required matching community funds.

Visual art, with watercolors, is covered in the second blog of a two-part series. For additional information, email terryevelyn@hotmail.com.

–Evelyn Patricia Terry

 

Creating Art: Toward 500 Images – Part II

Anwar Floyd-Pruitt hold his mixed-media assemblage, "Crown Head on Criss Cross" at Blutstein Brondino Fine Art.

Anwar Floyd–Pruitt graduated from Harvard University with a psychology degree and then his creative muse lead him in a totally different direction.  Exhibiting in “IMITATING LIFE: Synthesizing Saneness” with painters Kevin Boatright and Mikal Floyd-Pruitt (Anwar’s brother) — this is his first official art exhibition. Possessing the intuitive approach often attributed to self-taught artists, unhampered by mainstream aesthetics, Anwar is driven to make things that are recognized as “art.” Often declaring it strange, many witnessing this art genre are perplexed. Preconceived notions and expectations that artists draw only realistically commonly prompt, “Can you draw me?”

Most likely influenced by these same expectations, Anwar confided, “My work is a way to deal with the jealousy I sometimes feel when I see other artists’ work. Saddened, as a child, by my inability to draw, sculpt, or paint figurative works very well, I decided to put time into doing what I enjoyed and exploring the possibilities outside of realism.” His revelation reminds me of the jealousy that I, as a child, felt toward classmates who received praise for drawing well.

Anwar Floyd-Pruitt, "Skulls," Khaki, Denim, leather, wood, tacks, acrylic paint, 11" x 9," 2012, at Terry McCormick Gallery. Photo by artist.

Accomplishing a kind of conceptual folk art came with Anwar’s decision to move outside of realism as he gravitated to reusing rescued materials destined for the garbage can. “I am free from having to make sense and I love the fact that recycling creates much of my work. I also enjoy the fact that I can find inspiration for my work anywhere – like interesting patterns. As a youth, certain patterns disturbed me, and even today looking too long at a honeycomb or at images from an electron microscope create this unpleasant visceral reaction. Strangely, I am often drawn to examine these patterns further, almost like playing chicken with my nerves.”

Presently, Anwar collages the reverse sides of old marketing posters with cut up old marketing posters, cuts and/or knots scraps of discarded clothing and leather, sands and staples butt-ends of wood, pounds tacks, and sews with thread. “I give a new life to that which was pronounced dead,” he declares. “Instead of a defibrillator, I use scissors, sewing machines, staple guns, hot glue, hammers, and double stick tape.” Plus, the sound that his tools make “lets him know that change is occurring.”

Anwar Floyd-Pruitt, "Drunkard's Last Stand (detail)," Acrylic and collaged recycled posters, 6 of 30 - 11" x 17" each, 2010, at Terry McCormick Gallery. Photo: Mikal Floyd-Pruitt

With the beginnings of a new piece, he says he often fights uncertainty and fear,  unsure of what the end result will be. “My work relates to the exhibition title “IMITATING LIFE/ Synthesizing Saneness” in that the process of creating art calms my nerves, soothes my soul, and provides an outlet for my pent up thoughts and emotions,” he explains. “I find that making art is a meditation of sorts. Not that anything in this sometimes – crazy outside world has changed by the time I finish a piece, but I have changed. I have increased my ‘saneness.’

Being acquainted with Anwar’s family for years, I’ve known him as my daughter’s classmate, in elementary and high school — and as my youngest patron. One of my most memorable art sales followed my slide lecture presented to his 1983 Montessori class. When Anwar requested a “large” piece of my artwork, his parents, Dr. and Mrs. Pruitt, purchased a watermelon pastel. Now 34, his early art interest and foray into collecting in elementary school has germinated. Functioning like a consummate obsessed, self-taught visionary, Anwar is well on his way to creating his 500th piece. Witnessing that journey is “icing on a very artsy cake.”

“The Passion of the Self–Taught Artist” is Anwar’s next exhibition at Blutstein Brondino Fine Art, opening on Gallery Night Friday, January 20, 11 – 9 pm. – March 10, 207 East Buffalo Street, Milwaukee, Wisconsin. 1-800-737-3715. Receptions are also planned for January 26th and 27th.

The Terry McCormick Gallery: Contemporary Fine and Folk Art continues with his work on Gallery Day, Saturday, January 21, 12 – 5 pm at 2522 North 18th Street. For questions, call 414-264-6766 or email terryevelyn@hotmail.com.

–Evelyn Patricia Terry

Creating Art: Toward 500 Images – Part I

“As an artist, you will know who you are, when you have created your 500th image,” stated one of my UW-Milwaukee art professors in the 1970s. Often I pass his statement on to artists desiring their art careers to “hurry up and blossom” or their personal styles to “hurry up and blossom.” As a benchmark worth aiming for, a commitment to 500 images sounds like a stretch, but it keeps one busy creating – the most beneficial element of a successful art career.

Mosaic fabricator Catherine Lottes & workshop leader Evelyn Patricia Terry flank "Life's Garden." Photo: Yokesphotography.

So that is, of course, what I told Kevin Boatright, Mikal Floyd-Pruitt, and his brother, Anwar Floyd-Pruitt, after encountering them in October at different locations during Milwaukee’s final 2011 Gallery Night and Day’s 23rd annual event. The afternoon of Gallery Night, Anwar and Mikal attended the unveiling of a public art project, “Life’s Garden,” created by Catherine Lottes and installed at 6th and Reservoir. In 2010, Lottes invited me to assist her with my expertise in facilitating watercolor workshops. Pieper Hillside Boys and Girls Club’s art students and Lapham Park’s resident seniors attended separate workshops – developing images for Lottes’ innovative mosaic tile production process. During the reception, Anwar, Mikal and I talked about art, and shared desires and life situations.

About 10 p.m. that evening, I encountered Kevin Boatright in the Third Ward. As we sat talking about art and visibility, Kevin said emphatically, “I want more for my career.” I concurred with that desire “of more” for my career. Kevin then said, “You may be down now, but at least you have been up.” “Down,” referenced my statements that I needed my large pastel and monoprint sales — so robust once-up-a-time — to resume.

Both fortuitous meetings compelled me to offer the Terry McCormick Gallery: Contemporary Fine and Folk Art, as a stepping stone in their journey and point them in a direction that would eventually propel them toward “prosperous” career goals. I recalled speaking with renowned artist, Faith Ringgold. She stated that “lack of money flow” was never an issue in her career — so “continuous” copious money flow tops the list of my present career goals. These three artists desire a career in which their art will make money for them also.

I requested their input, but my initial and ongoing advice was that they consider choosing healthy lifestyles to be holistically successful artists. Being sick is a mentally and physically challenging environment to create in. Consequently, our meetings included freshly juiced green vegetables and small amounts of fruit, along with Caroline Carter’s raw crackers, dips, and granola. Kevin eventually acquired a juicer and Anwar has been looking for the right one.  Until it is acquired, he began blending raw vegetables and fruits.

During brainstorming sessions, Mikal and Kevin developed the exhibition title, “Imitating Life: Synthesizing Saneness.”

Imitating Life: Synthesizing Saneness, Postcard, 4" x 6," designed by Mikal Floyd - Pruitt.

Mikal designed an energetic invitation, reflective of dominant color choices evident in his paintings — red, blue, yellow, green and white. Artists’ statements, artwork presentation, titles, prices, signage and press releases were tackled, as basic foundations that fueled my career. Anwar and his father, Dr. Eugene Pruitt, graciously assisted moving furniture from downstairs to upstairs to create more wall space.

The opening reception, December 10, 2011, was well attended. I was acquainted with a few people, but many new faces were in the crowd. A resulting visit from Barbie Blutstein during the first week of our exhibition, netted an invitation for Anwar’s artwork for the next Gallery Night and Day, January 20 and 21, at Blutstein Brondino Fine Art. They are located in the Marshall building, 207 East Buffalo Street, Milwaukee, Wisconsin (1-800-737-3715). With a self-taught theme, this exhibition additionally includes folk art selections of George Ray McCormick, Sr., Ktinsley, Prophet Blackmon, Richard Mynor and Rev. Josephus Farmer from the Terry McCormick Gallery.

Daily goal setting, intense productivity, record keeping and audience cultivation must be focused on to reach my instructor’s “500 – image” benchmark and/or the success that they desire. They have the “God-given gift.”  “The rest of the story” as Paul Harvey, so aptly included in commentaries, will be individually honed.

Anwar Floyd-Pruitt, Kevin Boatright & Mikal Floyd-Pruitt in front of Mikal's paintings. Photo: Terry McCormick Gallery.

Kevin’s, Anwar’s and Mikal’s artists’ statements, aesthetics and more information of our earlier art encounters, continue in my next blog. The Terry McCormick Gallery will be open again on Gallery Day, Saturday, January 21, 12–5 pm. It is located at 2522 North 18th Street. Call 414-264-6766 or email terryevelyn@hotmail.com. Check my website for our press release and other images: evelynpatriciaterry.com/news.

–Evelyn Patricia Terry

An unwavering season of growth

Evelyn Patricia Terry, "Sacred Precious One," Pastel, 41 x 37 inches.

Summer zoomed through like a torpedo. The backyard garden, which in past years always yielded cucumbers and tomatoes, went neglected. This unexpected turn of events instead yielded a season of personal growth and diverse experiences: an unplanned vacation; a chance connection to the book, The Immortal Life of Henrietta Lacks; a famous juror at a community festival; and finally a major move.

In June, I accepted an invitation from my daughter and her husband, living in New York, to fly in for a couple of days and hang out with them and his mother visiting from Montana. We enjoyed each other’s company and sought out great experiences for our brief soirée. Though we didn’t have time to catch a Broadway show, the Metropolitan Museum of Art’s “Savage Beauty” had all the trauma and drama of a major theatrical production. A multimedia exhibition, it enthrallingly traversed the prolific fashion career of the late Alexander McQueen whose suicide at age 40 stunned the fashion world. His haunting designs are artistic explorations, shrouded in beauty, mystery and dazzling showmanship. It is no wonder that on the final day of the exhibition, a New York friend reported lines several blocks long, keeping MMA open until midnight.

Evelyn Patricia Terry shares a moment with Dr. Roland Patillo. Photo: Lynda Jackson-Conyers.

Back in Milwaukee in August, as an honoree, I attended the elegant Milwaukee Community Journal Anniversary Celebration, the Academy of Legends. Academy of Legends organizer Patricia O’Flynn Pattillo, founder and CEO of the MCJ weekly newspaper, cleverly emulated Hollywood’s Academy Awards. I took the opportunity to exhibit my work, Sacred Precious One, to a new audience.   I graciously congratulate Florence Dukes for winning in the Arts/Music Category, thus sparing me from giving an acceptance speech.

Rebecca Skloot's "The Immortal Life of Henrietta Lacks."

More importantly,  before the event, I was honored to speak with both former Wisconsin residents, Mrs. Pattillo and her husband, Dr. Roland Pattillo–now Georgia residents. Dr.  Pattillo, a Morehouse School of Medicine professor and Director of Gynecologic Oncology,  shared his role in the discovery of HeLa, the first immortal human cell line ever grown in culture from the cells of Henrietta Lacks. The controversial medical discovery received major news coverage in 2009, with the publication of Rebecca Skloot’s bestselling book, The Immortal Life of Henrietta Lacks.  Lacks cells were being used for medical research long after her death, without her family’s knowledge or permission. Dr. Pattillo, who helped expose the existence of the cell line, now organizes and chairs the Annual Morehouse “HeLa” Woman’s Health Conference. After my inspirational conversations with Dr. and Mrs. Pattillo, I went immediately online and read a compelling excerpt of the book.

Back in my comfort zone, I was invited by Mount Mary art professor Brad Anthony Bernard to the 2nd annual Community Arts & Funk Festival reception in Milwaukee — which he organized. I provided artwork from artists represented by the Terry McCormick Gallery.  For me the festival highlight was speaking briefly to renowned Chicago sculptor Richard Hunt. Hunt — along with Nicholas Frank, Milwaukee Institute of Art and Design faculty member, and Dr. Annemarie Sawkins, Haggerty Museum Curator — juried the festival. Said to have completed more public sculptures than any other artist in the country, Hunt has in impressive signature sculpture installed on the Mount Mary College grounds. Best of Show went to Eddie Davis (painting), 1st Place went to Angela Smith (wearable art), 2nd Place went to Jeff Newville (leatherwork), and 3rd Place went to Bashir Malik (painting). Honorable mentions went to Vedale Hill (painting) and Jessica Laub (ceramics). A lively end of summer occasion, which along with original artwork, feathered live performances by singer songwriters of original music.

Nicholas Frank, Richard Hunt and Dr. Annemarie Sawkins tally scores. Photo courtesy of Harrison Kern.

Finally, I created a kind of win-win change from a potentially unpleasant situation in late August. On three days’ notice, I was asked to relocate from my art studio, at Lincoln Center Middle School of the Arts, to a much smaller space. After negotiating space for my two studio partners,  I decided to move my studio to my home. The daunting task, packing up and moving into the school’s temporary storage from my space that I had occupied since 1985, occurred with the assistance of three maintenance engineers and two friends nearer the end of September.

The move out of storage is only partially accomplished. Nevertheless, I feel that the new fall season signifies even greater growth. This includes my new project, “Raw Green/Watercolor Workshop.” Designed to benefit k-12 youth and their families, this workshop is funded by a MPS Partnership for the Arts Grant, Alice’s Garden, Walnut Way Community Corporation, Riverwest Artists Association, and Lena’s/Piggly Wiggly. It signals the continuation of unwavering growth opportunities including the return of next year’s cucumbers and tomatoes.

–Evelyn Patricia Terry, evelynpatriciaterry.com