THE VISUAL VOICE EXHIBITION

​www.riversideartmuseum.org

The Riverside Art Museum is proud to announce The Visual Voice co­curated by Bernard Hoyes and Charles Bibbs with the assistance of Lisa Henry.

This exhibition will cover Southern California Black artist’s ascent to the mainstream. Beginning with the Black art scene in Los Angeles in the 1980's and continuing through the 1990's. The Exhibition will be composed of two segments ​INFLUENTIAL MASTERS and INDEPENDENT TRENDSETTERS

The VISUAL VOICE ​will focus on key artists, INDEPENDENT TRENDSETTERS​, who significantly CREATED A SELF-VALIDATION MOVEMENT that influenced the market for the newly proclaimed, African American Art. By producing, manufacturing and publishing their original works, using the business principals of marketing and new technological innovations in presentation, these artists were able to take Black imagery to the mainstream. Leading artists to be represented in this exhibition include,​Ernie Barnes, Varnette Honeywood, Bernard Hoyes, Charles Bibbs, Nathaniel Bustion, Synthia Saint James, Kathleen Wilson, kenneth Gatewood Charles Dickson and Joseph Beckles​. (Images below)

The movement of African American art into the mainstream has been a long time coming. Groundwork done in the pre­ Civil Rights era established the existence of a Black arts scene.

The documentation and research of the Black artists by Samella Lewis and Ruth Waddy, laid the foundation for promoting art by Artists that depicted the Black experience. Scenes from everyday life established African-American art within the broader picture of American art and art history.

With self reliance, artists built their own establishments, taking the art to the people. In Los Angeles, galleries and artist run spaces such as Gallery 32, Brockman Gallery, Tanner Gallery, and Human Arts Gallery helped to establish local artists and provided opportunities for the public to see original work.

The movement towards self validation, began with such shows as the Black Expo in 1972 in San Francisco. Recognition for then termed Black artists continued to grow statewide. The marketplace was developed through traditional means. Through the '70's and '80's co­op galleries, colleges and university spaces made paydays possible for many artists.

INFLUENTIAL MASTERS ​will include, ​Charles White, Samella Lewis, Bill Pajaud, Richard Mayhew, Artis Lane, Jacob Lawrence, Noah Purifoy,​and ​John Outterbridge​. These artists included their personal visions, supported by technical excellence, to amplify new codices of liberation and validation (Images below)

The benefits of recognition, however, did not insure art world status or financial rewards. Making a living with one’s art was still an elusive endeavor.
The movement towards self validation, and producing iconographies of Black pride and celebrating culture began gaining acceptance in the mainstream in the '70s, '80s and '90s.
Artists found subject­matter in ethnic identity, history, social consciousness and celebrated it. They also found ways of earning a living with their art and became full­time artists.
Pop up venues in parking lots, art fairs, shopping malls and artists studios became part of the direct appeal. Bunker Hill Art League, Art West, Black Gallery and Studio Z with its organized membership began to establish venues for Black artists. This era saw the standard of artists rise. Subject­matter, presentation and business principals became a blueprint for success.

Newly proclaimed, African American Art experienced decades of major financial and creative achievement. As Self-Validating Artists in Southern California gained recognition and rewards, they also created from an independent voice, inspiring emerging artists to work freely in their chosen medium of expression.
More collectors were created during this period, that transcended race and class. The demand for the production by these artists increased the activity of auction houses and dealers nationally, which created a secondary art market.
Museums were chartered to house, document and exhibit. Licensed appraisers for African­American art followed the wave. As the Civil Rights movement transformed, these artists reignited its power thru a visual voice to a cultural shout. (Images below)

• Contact:
• DREW OBERJUERGE
• doberjuerge@riversideartmuseum.org
• 951.684.7111