Breaking the Boundaries of Race through Art

Breaking the Boundaries of Race through Art

Art is what chronicles our history.

David C. Driskell at “Tradition Redefined” an exhibition held on February 28, 2011 at the Georgia Museum of Art, spoke on how Americans measure art and the racial specifications that go along with such chronology.

Driskell is a leading authority in African American Art through his work as both a teacher and an artist.

Driskell’s lecture was part of the desegregation events at the University of Georgia to celebrate the 50^th anniversary of desegregation.

As displayed through the exhibit, there were talented artists 50 years ago, but thanks to Larry and Brenda Thompson, the collectors for the exhibit, and Dr. Adrienne Childs, the curator, Athens students and visitors finally have the chance to appreciate the African American art that has been at times ignored or kept in a specific box because of its label.

Driskell, who was born in Eatonton, Ga. in 1931, saw “and participated in the whole picture of racial desegregation in the south, particularly in Alabama.” At times, Driskell who was a teacher at Talladega College (who later became a professor at the University of Maryland where the David. C. Driskell Center resides) was on the sidelines of the events, watching people such as UGA alumna Charlayne Hunter-Gault on their “road to freedom.”

“Art is a measure of history,” said Driskell in his opening remarks, “we measure the accomplishments of civilizations namely through their art.”

Art and artists were at times segregated from the art community, which could be assumed. However, leading artist of the time such as Professor Lamar Dodd of UGA, welcomed African American artists such as Driskell to join them in talks as well as in artist associations legitimizing their position and status within the field.

Major advances in African American art developed after the publication of Driskell’s novels which Brenda Thompson said “presented to the art world beautiful images that could not be denied.” Thompson also said that Driskells contributions have changed the involvement of African American art in the art world and that now, more African American artists have been found in museums.

Driskell was not the only one creating positive changes for African American artists. Hale Woodruff also made strides for the African American artist community similar to that of Hunter-Gault in the educational community by creating the Atlanta University Art Annuals, a place where African American artists could be certain that their art would be showcased.

Exhibitions such as Woodruff’s were a step towards “making the notion that art should be inclusive” said Driskell. “This is one of the most important ideas that could be made in the celebration of the 50^th anniversary of desegregation at this University.”

“A collection such as this, gives an overview of African American art,” said Driskell, “connects our viewing interests over three centuries.”

We also measure race within art, despite the fact that “art knows no racial orientation or ethnic boundaries” said Driskell. “In it’s origins it remains pure.”

The idea that art does not need to be labeled as black or white, ethnic or not, does not stop it from happening, art still radicalizes events in history.

Driskell pointed out the need “to keep art on the level of human endeavor” and not allow art to be separate because of race, use art a celebration rather than as a categorization.

Americans according to Driskell like to document everything although sometimes if it is not in writing like to pretend they know nothing about it. But a collection such as “Tradition Redefined,” which should be “studied in depth in order to show the diverse range of artistry presented” makes it difficult to ignore the facts.

When looking at the featured artists such as Woodfruff’s 1945 “The White House” to Hartwell Yeargans “The Fold Singer” one can see the historical narrative that Driskell spoke of, the history of not only African Americans, but of America.

“Artists very often move in various directions” said Driskell, “some artists include themselves as the subject” while some create their own language and shown through the chosen art pieces.

Through the art real people are depicted, capturing the moments of their lives. “African American artists very often rely on memory in their work than they do on experimentation with what is in vogue” said Driskell, a statement reaffirmed through the vibrancy and culture that emanates through the spacious exhibition setting.

“I think it’s really great to have a program where you have one of the prominent artists with this important collection hearing their oral history going on” said Patricia Rodewald a visitor from Atlanta. “It doesn’t seem all that unusual, very natural” that an African American exhibit such as this would be happening now, while merely 50 years ago, the idea could have been struck down.

“Formal art transcends race, time and place” said Driskell” “it can be a moving force in our attempt to connect with our past and redefine ourselves within our ideas we are all striving to see.”

Tradition Redefine, which ran until March 27, 2011 and the celebrations associated with the 50^th anniversary of desegregation both shared the common goal to accomplish, “a colorless humanity.”