N'vest-Ing in the People: the Art of Jae Jarrell

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Jae Jarrell N’Vest-ing in the People: The Art of Jae Jarrell

by D. Denenge Duyst-Akpem

1977 dawned on a Nigeria brimming with AFRICOBRA (African Commune of promise, full with the spoils of Niger Bad Relevant Artists)—the Delta oil and national pride 17 years legendary collective established in post-independence. It was a time of 1968 on Chicago’s south side with afrobeat musical innovation, of the goal to uplift and celebrate cross-continental exchange, of Black community, culture, and vibrancy and possibility. A contin- self-determination.1 Jae describes gent of 250 artists and cultural the journey as a “traveling party,” a producers selected by artist Jeff veritable who’s who of famous Donaldson and the U.S. organizing Black artists, and recalls thinking, committee, traveled from New York “If the afterlife is like this, then to Lagos, Nigeria, on two planes that’ll be alright!” 2 chartered by the U.S. Department of Foreign Affairs, to participate in Imagine the moment. The outline of FESTAC ’77, the Second World West Africa appears on the distant Black and African Festival of Arts horizon. Excitement mounts as the and Culture. Among them were Jae densely inhabited shorelines and and Wadsworth Jarrell, two of sprawling metropolis of Lagos Donaldson’s fellow co-founders of (pronounced “ley” “goss”) come into view, and even in the air condi- co-founder and curator Gerald Arts6 held in Dakar, Senegal in singer and civil rights activist tioned plane, you can feel the trop- Williams reflected on the cultural 1966 hosted by visionary President Miriam Makeba lovingly known as ical rays as the plane inches closer and creative impact of partici- Léopold Sédar Senghor, FESTAC “Mama Africa,” the awe-inspiring to landing. Waves of hot equatorial pating in such an exposition, ’77 highlighted Black World crea- dance company of Guinea Les air envelope your body as the affirming of the iconic festival that tive impulse, showcasing the Ballets Africains, and cosmic plane’s doors open, and you step “FESTAC was everything!” 3 This artistic and cultural wealth of over composer, visionary Sun Ra. out into harmattan-dusted sun, the convening and display of worldwide 50 nations. Estimates are that heat pressing against your pores, Black artistic flourishing was a between 500-600 African Jae Jarrell was commissioned by Jeff inhabiting your breath, carrying moment of pure celebration, an American artists participated. As Donaldson to chair the FESTAC ’77 you forward as if buoyed by a tan- opportunity for cross-cultural noted by historian Arthur Monroe Modern Dress Fashion Show. gible force, rippling the tarmac as collaboration, and a site of trans- in an article for Black Scholar later Jarrell curated eight designers you disembark down slight shaky formation for those who experi- that year, it was “the largest group from the U.S., including one who metal steps and move toward the enced it. It was “nation time” at its of African American artists ever to worked exclusively with kente terminal. Scents dance through boldest, its most beautiful, its return to Africa as a single group.”7 cloth. The show also featured your nostrils, whiffs of dust and Blackest, mirroring in its formation He notes that, overall, 17,000 Black Jarrell’s suits in her signature pure sweat and cement, fried plan- these excerpts from AFRICOBRA’s artists and 500,000 spectators leather and suede. Nigerian women tain with pepper, bus exhaust, and manifesto: “It is Nation Time and participated in the two-month-long modeled, along with some of the machine oil-hardened earth. The we are searching. In the spirit of event, which covered every disci- designers. The fashion show was sounds of an endless clamoring Nation-ness we are examining the pline—from painting to sculpture, held over two days in front of an cityscape, rich with cultural drive, roots and branches of our African performance and music, fashion enthusiastic, vocal, packed audi- deliver promise in the awakening of Family Tree for the seeable which is and art historical antiquities ence of hundreds. Each designer’s a new national day. most expressive of our people/art. including selections from the collection was presented together We are trying to make images magnificent Benin Empire, Nok, on a “T”-shaped runway choreo- Into this swirling space, Jae Jarrell and inspired by sublimely Superreal and Ekiti region—birthplace of graphed to showcase two models the U.S. FESTAC ’77 contingent African people…images that all renowned early 20th century at a time, as if one were viewing a stepped into a new page of history, African people can dig on directly.”4 sculptor Olowe of Ise—to architec- street scene, saturating the audi- helping to shape an epic moment Williams shared in a recent inter- ture of the great Māli Empire and ence with that designer’s work, that lives to this day as FESTAC view that the artists emphasized other flourishing ancient African with models offering a “tip of the Town, a housing estate originally “the spirit of the age…the concept civilizations. FESTAC ’77 was the hat” as they passed each other. It constructed for the festival which of Black pride—Black is beautiful— place to be—“an affirmation of life”8 was a lively affair where the audi- remains a neighborhood in Lagos, and a positive outlook on life.”5 and unity amongst African peoples ence was as much a part of the immortalizing those dynamic two of the world. The many notable experience as the models and weeks. In a 2018 panel at the As with its predecessor, the First World artists who attended and garments. As poet, dramatist, and DuSable Museum of African Festival of Black Arts, also known performed included the incompa- educator Kalamu ya Salaam American History, AFRICOBRA as the First World Festival of Negro rable Stevie Wonder, South African discusses in The Magic of Juju: An Appreciation of the Black Arts shows, with the hope of one day force after snipping the metal band conceptual work which allows the Movement, with the flowering of opening her own shop. She holding the barrel together! Jarrell wearer to be surrounded in protec- Black poetics and performance debuted her first collection titled designed and built everything as tion and support by the painted modes during the late 60s and 70s, Fashion Safari in Spring 1963, clients who were models came brethren, an homage to community the Black aesthetic of call-and-re- which she describes as “daytime, through for fittings. Later, these as family and Black Panther unity sponse intentionally rooted artists’ afternoon and evening wear, a full furniture constructions were trans- during this time of constant attack success in Black community selection showcasing what I could ferred to the new shop, including a by government forces. It was reception and engagement, giving do, a ‘spicy’ collection designed for mushroom style round sofa built during the Jarrell family’s brief primacy to African-derived Chicago.”10 One-of-a-kind suits and from an oak table, the legs of which move to Boston in 1971 due to systems of value.9 coats were her specialty, estab- she replaced with shorter ones and violence in Chicago—before lishing the design style she has then upholstered with impeccable accepting Wadsworth’s teaching Born in Cleveland, Ohio to a family with a followed throughout her career. An tailoring and piping detail. The position at Howard University—that sister and three older brothers, advisor to Mrs. Johnson of Johnson center portion of the sofa was Jarrell entered what she calls her Jarrell is the grand-daughter of a Publications saw Jarrell’s debut line taller than the circular seating area “angry period,” fueled by the injus- fine tailor and apprenticed in and after a meeting with the to allow customers to rest their tices befalling Panthers and Black fashion and business to her haber- legendary founder, commissioned backs in comfort with magazines activists throughout the country. dasher uncle’s shop. She attended her to design an eveningwear gown provided. For Jarrell, the focus has With limited space but ample time Bowling Green State University for the iconic annual Ebony Fashion always been on display and pres- to reflect on news relayed through then moved to New York and later, Fair, an important moment for the entation. Work areas were smaller the Black Panther Party news- Boston. The School of the Art designer’s burgeoning practice. and tucked away, though she later paper, whose images of and from Institute of Chicago’s fashion secured another space in the same the people were conceived by program drew her to the city, Chicago was a site of great artistic building at 5139 S. Blackstone, Emory Douglas, BPP Minister of though at the end of her second output and was transformative in which she used for cutting and Culture and Revolutionary Artist, year, she decided to move on, ready Jarrell’s early career. With the tailoring. Assistants—three she began working on the wall as to embark on her own career. She launch of Jae of Hyde Park, she students from a nearby high school their belongings were in storage moved to her first Chicago apart- incorporated her furniture projects who did beautiful handwork and and she was without a sewing ment in the Chatham neighbor- into the storefront, which she stayed working with her for three machine. She painted onto textiles hood, a thriving, bustling center of continues in her contemporary years until graduation—had to such as burlap, the texture of industry and Black community. sculpture practice, setting the prove themselves before they were which enabled braiding at the Here, she turned her focus to sewing machine aside to “sew with trusted with her scissors. seams. Adorn to Refect is one of designing in her home, developing hammer and nails.” In her Chatham the garments she produced during furniture ideas, and creating an apartment, she built stools and The thread of her sculpting practice this time, with its purple ground exquisite environment from which benches out of oak barrels , and weaves through her garment and bold, rust-ochre accented text she built her business outfitting recalls a moment of being designs, seen in Brothers floating amidst delicately rendered Black models for various fashion launched across the room by the Surrounding Sis from 1970, a portraits of Black women. During their time in Washington D.C., multiple roles as artist, designer, Jae Jarrell frames her work as sculp- where her husband Wadsworth entrepreneur, co-founder of ture, as building, whether with taught at Howard University, AFRICOBRA collective, wife, and needle and thread and hole punch, Jarrell pursued completion of her mother. In art historical and with three-dimensional works BFA, and her creative focus archival frameworks, direct including embellishment and text shifted, in part due to space dialogue with the artist tells us affirmations, and multi-media considerations and, as mother to what really went down. A range of furniture-based pieces of blown- young ones, limited time to create voices to piece together a history glass pendants, dancing chain, and extensive tailored ensembles. She is essential, and the archive—such hand-wrapped beads. When we began making leather vests that as Marilyn Nance’s exquisite consider the declaration of “Nation required a minimum of stitching— photographs of FESTAC ’77—is a Time!” in answer to the question two seams at the shoulders and living entity within which Black “What time is it?”, we understand two at the sides—which she chris- artists’ voices must be centered. In her work as statement, infused tened “jewelry jackets,” for the particular, Black women’s voices with urgency and revolutionary woven detailing, painting, and have historically been seen as fervor. appliqué work that has also invalid—if they were heard at all. I become her signature. The am interested in the archive: who This is a portrait, akin to Yoruba oríkì, appliquéd and painted embellish- frames it, the choices made, the citation poetry celebrating a revo- ment took on forms inspired by gatekeepers to information, and lutionary artist and all-around shields in the African art collec- the material history contained badass, illuminating how the seeds tions of museums she visited regu- within it. This conversation with of creative process are nurtured larly. She expanded this practice Jarrell is informed by a shared from generation to generation. This when they later moved to Atlanta, practice and is not only concerned is just the beginning of a conversa- creating what she called the with the documenting of history tion with so much more to come. “N’Vest,” a reference to Nigerian but is the documentation of joy. names and a play on investing in Joy in creative process. Joy as What time is it? your people. She also developed foundation for the work of and with Nation time! her now-iconic woven leather tops the people. Joy as radical and inspired by beaded Maasai collars. intentional act. This writing cele- What time is it? brates the many points of connec- Nation time! Conceptual artist, philosopher, and yogi tion and Ancestor-led synchronici- Adrian Piper has written about the ties of “talking shop,” and I cherish What time is it? wearing of three hats, and in doing this dynamic, real exchange. NATION TIME! so, provides a beacon and chal- lenge.11 Jae Jarrell inhabits Endnotes D. Denenge Duyst-Akpem is Assistant Congress, Schomburg Center for Professor, Adjunct, in the Research in Black Culture, Arts 1 AFRICOBRA co-founder Jeff Donaldson 6 The First World Festival of Negro Arts, or Department of Art History, Theory, Club of Chicago, MCA Chicago, writes in “Ten in Search of a Nation” Festival Mondial des Arts Nègres (FES- and Criticism and Faculty in the Red Bull Arts NY, ArtNews, Sixty, that AFRICOBRA was first established MAN) was held in Dakar, Senegal in 1966. as COBRA (meaning “Coalition of Black Low-Residency MFA Program, How We Get To Next, Chicago 7 Arthur Monroe, “FESTAC 77—The Second Revolutionary Artists”) in 1968 with a World Black and African Festival of Arts Sculpture Department, and both Tribune, Kunsthaus Zurich, Berlin group of five artists including Donaldson, and Culture: Lagos, Nigeria,” The Black Jae Jarrell, Wadsworth Jarrell, Barbara Graduate and Undergraduate Kunstgewerbe-museum, along with Scholar, Vol. 9, No. 1, BLACK LABOR (Sep- Hogu, and Gerald Williams, in response to tember 1977), pp. 34–37. Print. Divisions at the School of the Art forthcoming books in 2020. the assassination of Malcolm X and of Dr. Martin Luther King, Jr. and uprisings oc- 8 Arthur Monroe, “FESTAC 77—The Second Institute of Chicago. As an Afro- curring throughout the United States and World Black and African Festival of Arts Futurist space sculptor, she Duyst-Akpem has assisted Jae Jarrell in beyond, and was expanded to the name and Culture: Lagos, Nigeria,” The Black under which they have been known since: Scholar, Vol. 9, No. 1, BLACK LABOR (Sep- founded Denenge Design and In the studio on projects for Smart AFRICOBRA, the ”African Commune of Bad tember 1977), pp. 36. Print. The Luscious Garden, focused on Museum, Venice Biennale, and Relevant Artists.” 9 Kalamu ya Salaam, “A Primer of the Black holistic and conceptual approaches Toronto Biennale and is working on 2 From conversations by the author with Jae Arts Movement,” The Magic of Juju: An Jarrell in 2016 and 2019. Appreciation of the Black Arts Movement, to human-centered design. She has an essay about Jarrell’s artistic Chicago: Third World Press, 2016. Print. 3 From discussion with AFRICOBRA’s Gerald received numerous teaching practice and projects, highlighting Williams and TVLand’s 2011 AFRICOBRA: 10 From conversations by the author with Jae awards, taught about the Black her career trajectory and her Art for the People producer Deva Newman Jarrell in 2016 and 2019. for a panel moderated by the author for Arts Movement for ten years in contributions for FESTAC, to be 11 Adrian Piper, “On Wearing Three Hats,” Southside Projections and Art Design Chicago, and was an NEH Fellow published in the forthcoming Chicago as part of programming for the Adrian Piper Research Archive, 2007, University of Chicago Smart Museum’s originally presented at the Third Annual for the Institute on Black monograph by Kavi Gupta, 2020. Tillie K. Lubin Symposium, Who Is She? exhibition The Time Is Now! Art Worlds of Aesthetics and Sacred Systems. Chicago’s South Side, 1960–1980, Sep- Conversations with Multi-Talented Women tember 13–December 30, 2018, curated by (with Mary Catherine Bateson, Perri Klass, Her performance and writing have Rebecca Zorach. Kristin Linklater, and Sherry Turkle) at Brandeis University, Rose Art Museum on been featured at the Library of 4 Excerpts from AFRICOBRA Manifesto, March 17, 1996. Print. composed by AFRICOBRA members including Jeff Donaldson and Barbara Jones-Hogu, and printed in the back of the AFRICOBRA III exhibition catalogue published for their show which opened at Howard University in 1973, traveling later in September of that year to UMass-Amh- erst. Core tenets of the AFRICOBRA Man- ifesto are also detailed in Jeff Donaldson’s “Ten in Search of a Nation,” Nka Journal of Contemporary African Art, Vol. 30, Spring 2012. Print. © 1970 AfriCOBRA artists. 5 Philip Barcio in conversation with Gerald Williams, “For Gerald Williams, a Co-Founder of AfriCOBRA, Transnational Black Aesthetics Are as Relevant as Ever,” Hyperallergic, November 13, 2017. Web. Jae Jarrell in Urban Wall Suit, with Wadsworth Jr. (3 years) and Jennifer (3 months), Urban Wall Suit, c. 1969, Sewn and painted cotton and silk, two-piece suit, 37.5 x 1971, Revere Beach, Massachusetts 27.5 x 10 inches. Collection of the Brooklyn Museum. Ebony Family, c. 1968, Velvet dress with velvet collage, 38.2 x 38 x 10 inches. Revolutionary Suit, 1970, Black and white wool tweed with yellow suede and wooden Collection of the Brooklyn Museum. pegs, dimensions variable. Collection of the Brooklyn Museum. Jae Jarrell in Brothers Surrounding Sis, c. 1970 Brothers Surrounding Sis, 1970, Acrylic paint on suede, variable dimensions Brothers Surrounding Sis in Ornamented Screen, 2017, Mixed media, 64 x 14 x 14 inches Be Brave Young Blacks, 1971, Acrylic hand-painted purple burlap vest with fringed Adorn to Reflect, 1971, Two-piece ensemble, orange and magenta burlap dress with finishings, variable dimensions fringed hems and plaited seams, variable dimensions Adorn to Reflect, 1971, Hand-painted acrylic on burlap poncho, variable dimensions. Left: Front. Right: Back. Free Black Political Prisoners, 1971, Hand-painted acrylic on felt waist-cape and skirt ensemble with hand-cut decorative edge, variable dimensions Dahomey Ensemble, 1973/2018, Suede, appliqued leather, and woven leath- Gent’s Great Coat, 1973, Suede, appliqued leather, woven leather, er, dimensions variable 60 x 21 x 12 inches Untitled (Victorian Screen & Radiator Grates), 2017, Mixed media, 64 x 14 x 14 inches Poster for FESTAC, the Second World Black and African Festival of Arts and Culture, 1977 Jae Jarrell arriving at Lagos, Nigeria, 1977 Jae Jarrell in Nigeria, 1977 Modern Dress Fashion Show, Chaired by and featuring Jae Jarrell, FESTAC ’77 Modern Dress Fashion Show, Chaired by and featuring Jae Jarrell, FESTAC ’77 Modern Dress Fashion Show, Chaired by and featuring Jae Jarrell, FESTAC ’77 Jae Jarrell, c. 1980s Brown Suede Vest, N’Vest Collection, 1977, Appliqued with leather, variable Navy Suede Vest, N’Vest Collection, 1978, Appliqued with leather, variable dimensions dimensions Red-Brown Suede Vest, N’Vest Collection, 1979, Appliqued with leather, variable dimensions Untitled (Poncho with painted floral), c. 1979, Painted suede, variable dimensions Untitled (Poncho with painted paisley), c. 1980, Painted suede, variable dimensions Untitled (Poncho with painted paisley), c. 1980, Painted suede, variable dimensions Maasai Collar Vest, c. 1980/2015, Leather and suede with cowhide splits, 19 x 22 inches Jazz Scramble Jacket, 2015, Silkscreened cowhide splits, variable dimensions. Collection of the Smart Museum of Art, University of Chicago. Jae Jarrell Collection Show, c. 1986 Jae Jarrell Collection Show, c. 1986 Untitled (three tone cowhide splits chevrons with outside seams, over black silk wrap dress), c. 1986, Dyed cowhide splits and silk, variable dimensions Untitled (suede knickers, cover, gold leather mock leggings and hat, and leopard printed whole skin), c. 1986, Suede, leather, and printed whole skin Jae Jarrell wearing Untitled (Tie-dyed suede dress), c. 1986, Tie-dyed suede, Jae Jarrell Collection Show, c. 1986 dimensions variable Bird of Paradise Jacket and Crown, Ode to Tie-Dyed Suede, 1993/2017, Suede, 80x 20 x 20 inches Jae Jarrell wearing Bird of Paradise Jacket, c. 1993 Untitled (Suede coat with applique), c. 1993, Suede with applique, dimensions Untitled (Suede dress with applique), c. 1993, Suede with applique, dimensions variable variable Untitled (cap-shoulder top with painted paisley), c. 1990, Painted suede, African Shield and Candelabra Cacti, 1989, Screenprint on cowhide split with variable dimensions vintage buttons and chain, variable dimensions Frock You, 1994, Wool, wood, mixed media, 73.2 x 48.4 x 6 inches. The Rennie Collection, Vancouver, BC, Canada. Going to NYC, 1994, Mixed media on canvas, 53 x 74 inches Victorian Beads and Glasswork Enscreened, 2017, Mixed media on canvas, 64 x 14 x 14 inches Installation view of AFRICOBRA 50 at Kavi Gupta, 219 North Elizabeth Street, Chicago, 2018 Installation view of AFRICOBRA 50 at Kavi Gupta, 219 North Elizabeth Street, Chicago, 2018 Installation view of AFRICOBRA 50 at Kavi Gupta, 219 North Elizabeth Street, Installation view of AFRICOBRA 50 at Kavi Gupta, 219 North Elizabeth Street, Chicago, 2018 Chicago, 2018 Installation view of Soul of a Nation: Art in the Age of Black Power at the Brooklyn Museum, 2018–2019 Installation view of We Wanted a Revolution: Black Radical Women, 1965–85 at the Brooklyn Museum, 2017 Installation view of We Wanted a Revolution: Black Radical Women, 1965–85 at the Installation view of The Time Is Now!: Art Worlds of Chicago’s South Side, 1960– Brooklyn Museum, 2017 1980, 2018, Smart Museum of Art, University of Chicago Driven by Joy: The Life and Art of Jae Jarrell

Jae Jarrell has helped shape the course some of her most interesting and of art over the past fifty years. As a complex work. In the past two years founding member of AFRICOBRA alone, Jarrell’s works have been (African Commune of Bad Relevant exhibited in some of the most prom- Artists) she helped define the inent museums in the world, includ- visual language of the Black Arts ing the Tate Modern, the Crystal Movement of the 1960s and 70s, Bridges Museum of American Art, and pushed the boundaries of and the Brooklyn Museum. sculpture into new terrain with her painted wearable garments. Several examples of her newest body of work appeared alongside her ear- Throughout her career she has con- lier creations in the retrospective tinually proved herself a dynamic, exhibition AFRICOBRA: Messages experimental, joyful voice in the to the People, at the Museum of contemporary art world. Now in her Contemporary Art North Miami 80s, she is continuing to embark on (2018–2019). As that exhibition new territory, expanding her studio demonstrates, Jarrell continues practice into the realms of wood to push the boundaries of contem- working and installation while making porary art.

Chicago Defender, April 13–19, 1963. young Elaine Johnson’s debut fash- In the Hyde Park Art Fair in 1966 ion show “Fashion Safari,” at the she met her future husband Venetian Room of the distinguished Wadsworth Jarell. The two were Southmoor Hotel. Reporter drawn together by their creativ- Theresa Fambro raved, “Wild ity and deep commitment to the colors, skillful draping and intricate betterment of their community. cutting were displayed in the many They established W. J. Studios garments that were shown by the and Gallery on the South Side young designer. A basic black linen of Chicago, where they hosted figure-hugging dress was topped jazz concerts, public readings, by a black and white zebra print performances, and art exhibitions, three-quarter coat with deep slits attracting some of the brightest at the sides and at the back. Her writers, singers, musicians and garments were designed to portray artists in the city. the easy mode of life, as well as the From top: Chicago Defender, April 13–19, 1963. Jae and Wadsworth Jarrell outside of Jae Jarrell Vintage Menswear & Collectibles, 466 Greenwich St., high fashion trend.” It was at the studio that AFRICOBRA, New York City, 2005. one of the most influential Black art Creating her work was only a starting collectives in American history, was Jae and Wadsworth Jarrell outside of Jae Jarrell point for Jarrell. As an artist and conceived. The collective evolved Vintage Menswear & Collectibles, 466 Greenwich St., New York City, 2005. a business woman she prioritizes out of a series of get-togethers being in control of her own destiny. between Jae Jarrell, Wadsworth She opened her first boutique in Jarrell, Jeff Donaldson, Gerald Born in Cleveland, Ohio, in 1935, Jarrell (Jae’s birth name) learned to spot Chicago in the early 1960s, as an Williams, and Barbara Jones-Hogu. was raised in a family steeped in expert stitching, exceptional outlet for one-of-a-kind women’s Several of them had recently the traditions of garment-making. fabrics, and quality technique in suits and coats. At the sugges- worked together on The Wall of Her grandfather was a tailor and garments as well. tion of a friend, she chose “Jae of Respect, a monumental mural in her uncle was a haberdasher. As a Hyde Park” as the name for the the Bronzeville neighborhood of child, she learned from her mother Shortly after moving to Chicago to shop—reversing the order of the Chicago celebrating the faces of how to make her own clothing. They study at the School of the Art first letters of her full name. Since black cultural heroes. Building on scoured antique shops together in Institute of Chicago, Jarrell estab- then, Jarrell has opened more than the success of that project, they search of gems that could furnish lished herself as a rising star on the half a dozen other boutiques, from sought to create a new artistic their Deco-style home. It was Chicago scene. A front page story Chicago to Cleveland to the heart vision for their time. They wanted during those shopping excursions in the Chicago Defender from April of Lower Manhattan. to show uplifted images of Black that young Elaine Annette Johnson 13, 1963 describes the work of a people, and translate the visual language of everyday Black who are waging war for survival and America into a positive, progres- liberation; sive, constructive, Black aesthetic voice. *MODES OF EXPRESSION that lend themselves to economical mass pro- Looking back at this time, Jarrell says, duction techniques such as “Poster “We made an effort to raise a Art” so that everyone that wants one consciousness. In our hearts, when can have one; we put this all together we thought it was going to be an explosion of *MIMESIS, the plus and the minus, the positive imagery.” abstract and the concrete;

The group adopted the name *ORGANIC LOOKING, we want the AFRICOBRA in 1968, and the vision work to look like the creator made it they devised was revolutionary. through us; It was described in detail in their 1969 manifesto titled Ten In Search *SHINE, we want the things to shine, to Ten in Search of a Nation of a Nation , the AFRICOBRA , which includes the fol- have the rich luster of a just-washed manifesto, reprinted in Black World Magazine, lowing guiding principles: ’fro, of spit-shined shoes, of de-ashened October 1970. A Johnson Publication, Chicago. elbows and knees and noses; *EXPRESSIVE AWESOMENESS, that which does not appeal to serenity but *COLOR, color that shines, color that is is concerned with the eternally sub- free of rules and regulations… color and worked. Her Urban Wall Suit works shattered preexisting defini- lime, rather than ephemeral beauty. that is expressively awesome. (1969) adopted the aesthetic of a tions of sculpture, painting, textile Art which moves the emotions and graffiti and poster-covered brick art and fashion. They also made a appeals to the senses; AFRICOBRA members believed it wall. Her Brothers Surrounding Sis revolutionary feminist statement, was vital for them to reinvent (1970) features images of strong, appropriating traditions historically *SYMMETRY AND RHYTHM, repeti- themselves in order to be timely confident black men in a circle associated with “women’s work,” tion with change, based on African and unconventional. Jarrell seized around the skirt and sleeves. Her like sewing, stitching, and quilting, music and African movement; fresh ground in the collective two-piece Revolutionary Suit (1968) and redefining them through the through her avant-garde wear- features a golden, wooden “bullet lens of fine art. *IDENTIFICATION, to deﬁne and able art. The imagery featured in belt” lining the front of the jacket. In clarify our commitment as a people the work was inspired directly by addition to powerfully representing Jarrell’s AFRICOBRA works were to the struggles of African peoples the community in which she lived the vision of AFRICOBRA, these featured extensively in the media, Jet Magazine, January 28, 1971 Vol. XXXIX No. 18. A Johnson Publication, Chicago. appearing in articles in such Black artists, designers, and models does not imitate African culture, but prestigious publications as Harper’s from all over the world to create is enhanced by it.” Bazaar and Black Art: an International a performative art and fashion Quarterly. The Revolutionary Suit show. The show demonstrated Among the many important cultural brought Jarrell international Jarrell’s intuitive grasp of the fluidity institutions that have exhibited acclaim when it was featured in between art and everyday life, and Jarrell’s groundbreaking work the cover story for the January 28, emboldened her practice incorpo- are the Smithsonian Institute, the 1971 issue of JET Magazine. The rating African culture into her art in Studio Museum in Harlem, the article, titled Black Revolt Sparks different ways. Langston Hughes Center for Visual White Fashion Craze, addressed and Performing Arts, the Cleveland the appropriation of the bandolier Recently, Jarrell has transformed her Museum of Art, the Museum of by white fashion designers, and studio practice yet again by creat- Contemporary Art Chicago, and the tracked the influence back to ing sculptural pieces that blend National Center for Afro American Jarrell’s work. the visual and material history of Artists. furniture with aspects of her per- In 1973, Jarrell moved to Washington, sonal narrative. From claw feet off Whatever comes next for Jarrell, it will D.C., where she completed her of the bottom of antique chairs to be guided by the same passion for BFA at Howard University. In 1977, metal air grates like those on which experimentation that brought her fellow AFRICOBRA founder Jeff she used to stand with her mother where she is today. It will also be Donaldson helped plan FESTAC as a child to keep warm, classic guided by one other element—a ’77, the Second World Black material elements of the past sincere desire to connect with the and African Festival of Arts and become repurposed as objects people who view her art. As Jarrell Culture in Lagos, Nigeria. The of aesthetic contemplation. The once said: “I am forever driven to festival invited thousands of art- physical presence of these works make something that others might ists, musicians, dancers, writers references functional art objects enjoy and that they might know me and performers representing the such as Japanese screens, while better by. I then grow from the joy African diaspora to come to Lagos uncovering new ways for contem- they have.” for two weeks at a time to exhibit porary art to converse with culture their work. and the built environment. As her newest work also demonstrates, All of the AFRICOBRA co-founders transnational Black aesthetics participated in the festival. Jarrell remain as relevant to her now as served as the Chair of the Creative always. Says Jarrell, “The work Dress Committee. She worked with embodies the spirit of Blackness. It Jae Jarrell

Cover image: Brothers Surrounding Sis, 1970, Acrylic paint on suede, variable dimensions