FEATURED COLLECTIONS African American Art and Art History Including The Billops-Hatch Collection

EMORY UNIVERSITY | , Georgia Stuart A. Rose Manuscript, Archives, and Rare Book Library Robert W. Woodruff Library, 540 Asbury Circle Atlanta, Georgia 30322 African American Art & Art History at Emory University

The Stuart A. Rose Manuscript, Archives, and Rare Book Library at Emory University houses a diverse body of primary sources associated with the African American experience, from literature and history to politics and popular culture. These include an extensive collection of correspondence, literary manuscripts, photographs, and ephemeral material as well as rare books, periodicals, pamphlets, and other printed matter.

In the last decade, African American collections have expanded dramatically in the area of art and art history. The donation of the Hatch-Billops Collection in 2002 was an inaugural event in this growth, leading – directly or indirectly – to the acquisition of the papers of important African American artists, critics, art historians, collectors, and educators. Camille Billops and James V. Hatch, former professors and longtime figures in the world of African American art and theatre, have operated their collection in New York City since the late 1960s, which, under the name of the “Hatch-Billops Collection,” is regarded one of the most distinguished repositories of material relating to African American cultural arts.

Their collection in the Rose Library – designated the Billops-Hatch Archives to differentiate from the still- operational collection in New York City – has not only “The Rose Library been a boon to the African American archives, but has also become the anchor in an expanding assembly of houses a diverse important art-related collections. body of primary The artists’ biographies for this brochure were compiled by Claire Ittner. sources associated with the African RANDALL K. BURKETT RESEARCH CUR ATOR American FOR AFRICAN AMERICAN COLLECTIONS June 1, 2016 experience.” was out of print. They began collecting primary materials CAMILLE BILLOPS for their students. Artists and writers also began to send & JAMES V. HATCH material to them for safe- keeping. With a grant from (1933 - ) Artist, filmmaker, scholar, historian; the National Endowment for (1928 - ) Historian, writer, educator the Humanities, Billops and Hatch conducted oral histo- ries with black artists in all disciplines. amille Billops has had an extensive Billops began to photo- exhibition, teaching, and academic career. graph the works of black She has been a faculty member at Rutgers artists, and Hatch began to C collect plays, set designs, University, City University of New York, and for the theater programs and theatre- United States Information Service in India. Beginning related materials. Billops in 1968, Billops was the art editor of Indiana State also began photographing the openings of exhibitions University’s Black American Literature Forum. James featuring African American V. Hatch has held numerous academic positions, most artists, compiling a collection of slides that document these notably as Professor of English and Theatre, City events. They also assembled a College and University of New York, and as Fulbright library of books, periodicals and clippings related to black Lecturer, Cinema Institute, Cairo, Egypt. Hatch has cultural arts. In 1981 Billops published widely on the subject of African American and Hatch began publish- ing Artist and Influence: The theatre and wrote a biography of Owen Dodson. Journal of Black American Billops and Hatch currently live in New York City. Cultural History featuring tran- scripts of interviews they regularly conducted in New York, as well as panel The Hatch-Billops Col- discussions and forums with lection in New York, which minority artists. continues to operate there, originated in 1968 while Bil- A complete set of the jour- lops and Hatch were teaching nal is a part of the Emory col- art and literature at the City lection. The Camille Billops College of New York. With and James Hatch Archives the rise of the civil rights includes a large selection of movement and a concomitant play scripts written mostly increase in racial conscious- by African American play- ness, a demand rose for wrights. Of particular interest courses in black American are the oral history interviews art, drama and literature. conducted for inclusion in Billops and Hatch found that Artist and Influence. The col- very little had been published lection also contains printed on the history of the African ephemera, including posters, American cultural arts, and postcards, calendars, and an much that had been published extensive photograph series. The Billops-Hatch Collection is unique in its 40+ year documentation of African American arts and culture, including the life and legacy of individuals like Bob Blackburn, regarded as one of the greatest American printmakers. AMALIA AMAKI

(1949 - ) Artist, professor

escribing her own work, Amalia Amaki collection to speak on campus, and she created an African has said, “I’m operating from this belief American Artist Biography that a lot of what we do, automatic project, which invited students D to write biographies of things that we take for granted, are markers for artists in the collection, later elements of our identities that are deeply rooted. compiled to establish an online database. I think about what we keep, for example. It’s a way of keeping with us the people they belonged Amaki has continued to create while teaching and to. I think, even though it’s often not conscious, curating, and her work has that our past is like a quiet tug…It’s an unspoken drawn national attention. Her solo show Amalia Amaki: impulse.” Boxes, Buttons and the Blues at the National Museum of Women in the Arts, in 2005- 2006, which featured her Although at the time she from recognizable button- and was speaking about her artistic and the University of New bead- encrusted souvenirs, inspiration, Amaki’s belief Mexico, and she earned her was lauded as a bold, witty describes a larger drive, one PhD in American art and investigation of the history that also informs her work as culture from Emory University and significance of American a curator and educator – and, in 1994. She has since taught culture. moreover, one that accurately at , the describes the collection of her , and The Amalia Amaki papers papers at the Rose Library. the . include books, correspondence, teaching files, printed material, Amalia Amaki, born Lynda In 1994, Amaki became photographs, ephemera Faye Peek, grew up in Atlanta, the curator of the collection related to African American the fourth of six daughters. of Paul R. Jones, an Atlanta- history, slides, artwork, and Her parents encouraged based businessman, activist, audiovisual material. The her creativity from a young and lover of African African papers also include curatorial age, and in fact had a great American art. In her files and material relating to influence on the shape of their curatorial endeavors, as in the Paul R. Jones Collection of daughter’s future work. Her her educational and artistic African American Art. father, a musician, instilled in pursuits, Amaki has made it her a love of blues and jazz, her goal to integrate learning and her mother’s skill with with the viewing of art. She quilt and textile design resulted established an artist lecture in Amaki’s fascination with series at the University of traditionally female craft and Alabama which brought materials. Amaki graduated artists represented in the Jones Amaki’s photograph “I’m operating from this belief that a lot of what we do, of P.H. Polk, Tuskegee photographer and automatic things that we take for granted, subject of her academic are markers for elements of our identities that are deeply research. rooted. I think about what we keep, for example. It’s a way of keeping with us the people they belonged to. I think, even though it’s often not conscious, that our past is like a quiet tug…It’s an unspoken impulse.”

AMALIA AMAKI BENNY ANDREWS

(1930 – 2006) Artist, activist

ne of the first major reviews of Benny changes in exhibition practice were implemented. Andrews’ work, an article in 1962 described the pieces in his early solo show Later in his life, Andrews O assumed additional roles of as “forceful...One does not forget them. [Andrews] leadership, serving as the is finding himself by taking his world apart, then director of visual arts for the tearing it up, and arranging it in a different order National Endowment for the Arts and helping to found than it was before…He looks promising.” The National Arts Program. Andrews’ wife of 20 years is artist Nene Humphrey. Over the course the next the Paul Kessler Gallery in He died of cancer, age 75. forty-some years, Andrews Provincetown, Massachusetts, The Benny Andrews collection fulfilled the unknowing and three at the Forum Gallery consists of artist’s papers prophesy of the review; not in New York City. In 1965, from 1940-2006. The papers only did he fulfill his early Andrews received a John Hay include correspondence and artistic promise many times Whitney Fellowship. exhibit files; files relating the over, but he proved, in his life his organizational work with and in his evolving work, to In addition to, or perhaps the National Arts Program feel no hesitation in tearing up because of, his growing critical and the National Endowment the world in order to better recognition and leadership for the Arts; photographs, arrange it. within the African American printed material, writings art community, Andrews and illustrations, audio-visual Benny Andrews was born became increasingly involved material, and artwork. in Madison, Georgia, the as a political activist. In second of ten children. He 1969, he founded the Black won a scholarship to study Emergency Cultural Coalition “Every series I do, I feel at Fort Valley State College (BECC) in response to the from 1948-1950. He then Metropolitan Museum of like I’m not only doing it served in the United States Air Art’s exhibition, Harlem on Force as a staff sergeant from My Mind, which made the best I can artistically, 1950-1954. Andrews earned notable omissions in a Bachelors of Fine Arts from recognizing the contributions but I’m also recording the School of the Art Institute of black artists to the of Chicago in 1958, and Harlem community. The slices of history that I too moved immediately to New function of the group York, where he began teaching expanded in later years, have had some first hand and showing his work. He entering into negotiations gradually gained recognition, with large museums and experience in.” and between 1960 and 1970, cultural institutions, as a he had eleven solo shows at result of which significant BENNY ANDREWS Andrews’ cover illustration for “The Last Radio Baby,” a memoir written by his brother Raymond Andrews. JOHN BIGGERS

(1924 – 2001) Artist

Biggers sketching an African comb, part of his extensive collection of African sculpture ohn Biggers is perhaps best known today as a and craft. muralist – the painter of large, compositionally complex landscapes, peopled by strong female figures and often almost cosmic in scope and effect. The John Biggers papers illuminate the into love…to understand new truths, cut through development of his creative process and artistic contrivancies, take off blinders, vocabulary. Perhaps more importantly, the rip down veils, remove walls collectionJ allows insight into Biggers’ career as from within our minds.” an educator, as well as his research on the African In 1957, Biggers was continent and its art. awarded a UNESCO fellowship, which allowed him John Biggers was born Biggers and his mentor to spend six months traveling in 1924 in Gastonia, North remained close after Biggers in Africa. Upon his return, he Carolina. After taking a moved to Houston, Texas, wrote Ananse: The Web of course with Viktor Lowenfeld, in 1949 to found the art Life in Africa, documenting an art psychologist who had department at the Texas his observations on the life fled Austria during Word State University for Negroes, and art of Africa, including War II, Biggers decided to later renamed Texas Southern drawings completed on his change his major to art. After University. The dimensions journey. As one of the first the war, Biggers followed of his task there proved accurate and visual views of Lowenfeld to Pennsylvania monumental; one source Africa produced in America, State University, where he described Biggers as a “point it proved highly influential, earned his bachelor’s, master’s m[a]n in a Cultural D-Day informing the work of an and doctorate degrees in landing on a beach called entire generation of African art education. His doctoral Houston.” Biggers built the American artists. John Biggers thesis, “The Negro Woman in department over the next retired from teaching in 1983, American Life and Education: thirty years, proving a and devoted himself to his art A Mural Presentation” devoted teacher and a until his death. was received with such conscientious administrator. enthusiasm that he was In an essay on his time at The John Biggers papers invited to transform it into a Texas Southern, he describes include correspondence, public presentation, an honor his task not only as one of subject files, printed material, described by Lowenfeld as building faculty and designing audiovisual material, “the greatest…which a curriculum, but one of altering photographs, and books from university can bestow upon a perceptions, of helping young his library, including all the doctoral candidate.” people to change “hatred books he illustrated. Biggers wanted to alter perceptions, of helping young people to change “hatred into love…to understand new truths, cut through contrivancies, take off blinders, rip down veils, remove walls from within our minds.” GYLBERT COKER

(1944 - ) Curator, writer, educator

York City, and the Zora Neale Hurston National Museum of s a Rockefeller Foundation Fellow in the 1970s, Art. She has been a writer and an art editor for various publi- Gylbert Coker was driven by the desire to un- cations, including Black Ameri- derstand “the cultural patterns and influences can News, in addition to her role as a professor of Art His- that make up Afro-American art… the interchange tory. As one of the most prolific of culture from Africa to the United States, Africa to and influential black woman curators and writers working the Caribbean, the Caribbean to the United States.” between the late 1960s and Throughout her career as a writer and curator, Coker the late 1980s, Coker offers a perspective unique among art maintained this interest in the diversity of African historians of this period. Her American culture, both studying and celebrating its papers include correspondence and planning materials relating Amany forms. The Coker collection at the Rose Library to exhibitions and art projects, documents the development of this passion, as well as well as writings and a body of printed materials, includ- as its material implementation in Coker’s curating, ing exhibition catalogues and writing,Born in teaching,1944, Gylbert and Coker scholarship. panic, Asian… Anglo Saxon,” flyers. attended Pratt Institute in New as well as the effort to allow York City and continued to the public to witness all stages live and work in New York for of the works’ creation, from much of her career. In 1980 installation to disassembly. As one of the most and 1982, she created the Art This sensitivity towards her Across the Park project along audience emerges in Coker’s prolific and influential with artist David Hammons writing and teaching, much of and curator Horace Brocking- which is documented in the black woman curators ton. Designed to present new Rose Library’s collection. and writers working site-specific work by emerging artists, Art Across the Park also Coker has worked in the cu- between the late reflected Coker’s continuous ratorial departments of a num- effort to make art physically ber of museums and galleries 1960s and the late and culturally accessible. The in New York City, including exhibition statement, which The Studio Museum in Harlem 1980s, Coker offers exists in various drafts in the and the SUNO gallery in New Coker collection, outlines Orleans, and she has been a perspective unique the selection of artists whose featured as a guest curator at backgrounds reflected “the institutions like Franklin Fur- among art historians of major ethnic character that is nace, a vanguard performance New York City – Black, His- and book art space in New this period. Exhibition brochure from Coker’s 1980 curatorial project, Art Across the Park, which included installations from artists Ana Mendieta and Howardena Pindell. CEDRIC DOVER

(1904 – 1962) Writer, historian

edric Dover was born in Calcutta on The printed material April 11, 1904, to parents of mixed consists primarily of journals, reprints of articles, and CEuropean and Indian descent. Dover other works written by described himself as Eurasian, a term he preferred Dover throughout his career, in addition to material to “Anglo-Indian.” After attending St. Xavier’s related to Fisk University and St. Joseph’s Colleges in Calcutta, Dover and African American art in the mid-twentieth century. worked as an entomologist with the Zoological Printed material also Survey of India. In the late 1920s Dover includes twelve bound volumes of articles and became increasingly interested in sociology and clippings compiled by Dover. anthropology, specifically race and race relations Many volumes contain scientific articles, though in Europe, India and the United States. Notable others cover topics ranging works published by Dover on these subjects from literature to politics and include Half-Caste (1937), Know This of Race philosophy. Several of these volumes have titles, which (1939) and Hell in the Sunshine (1943). were supplied by Dover and describe the subject contents of the volumes.

In 1947, Dover served from 1881-1962, and Photographs include as a visiting lecturer in includes correspondence, images of prominent anthropology at Fisk writings by Dover and African American intellectuals University in Nashville, others, printed material, and and artists, including Tennessee, and then spent photographs. The bulk of Langston Hughes, Charles a year in New York City the correspondence concerns S. Johnson (president of lecturing in race relations the publication of American Fisk University), Romare at the New School of Social Negro Art and covers the Bearden, Georgia Douglas Research. A long standing years 1959-1960. Writings Johnson, Nancy Elizabeth interest in African American include a manuscript draft of Prophet, Owen Dodson, Arna art prompted the publication Dover’s first, but unpublished, Bontemps, and others. Emory of American Negro Art book on butterflies, drafts also received hundreds of rare in 1960. Dover died on of biographical sketches of volumes of African American December 9, 1962. artists under consideration for history and culture, many inclusion in American Negro inscribed by the authors with The Cedric Dover collection Art and several drafts of photographs and ephemera consists of Dover’s papers articles on race and sociology. laid in. The cover for Dover’s book, American Negro Art, published in 1960. CARROLL GREENE

(1931 - 2007) Art historian, writer, lecturer

s editor of American Visions: Afro- In 1967, Greene American Art – 1987, Carroll Greene co-curated “The Evolution of Afro-American Artists: wrote that his goal was not to provide A 1800-1959” with Romare a comprehensive guide to the history of African Bearden at the College of the City University of American art. Rather, he stated, “what is present New York. He was influential here is a beginning: a visual experience that offers in writing on and exhibiting a glimpse of the diversity and creativity of today’s Bearden’s work, serving as the guest curator of the newer Afro-American artists.” As a curator and 1971 exhibition “The lecturer, Greene took the same stance; he sought Prevalence of Ritual” at the Museum of Modern to open the long delayed critical and scholarly Art. Greene organized a discussion on African American art. number of exhibitions as a free-lance curator and lecturer, curating and writing essays for exhibition Carroll Theodore a number of such artifacts, as catalogues in museums Greene, Jr. was born on well as works of art, which around the country. June 17, 1931. Greene were thus secured from lectured, curated many deterioration or oblivion. The Carroll Greene exhibits, and published Greene’s collection formed the collection includes widely on the work of African basis for the Acacia Collection correspondence, printed American artists. The friend of African Americana, which material and photographs and contemporary of many he formed in 1989, serving mainly relating to Greene’s of the artists he studied, as its curator and executive interest in African American Greene took a personal director. art and artists. interest in the preservation of African American artistic heritage. In 1968, he was a fellow in Museum Studies at the Smithsonian Institute, where he played a role in What is present here is the beginning: adding to the museum’s collection of African a visual experience that offers a glimpse of American artifacts. the diversity and creativity of today’s newer Throughout the 1970s and 1980s, he privately collected Afro-American artists. Cover image from American Visions: Afro-American Art—1986, an art journal edited by Carroll Greene. EDWIN A. HARLESTON

(1882 – 1931) Artist, activist

nce called “the foremost portrait When he was called back to Charleston to join his painter our race has yet produced,” family’s business, Harleston Edwin Augustus Harleston, was indeed became one of the South’s few O classically-trained artists at the one of the South’s greatest artists at the turn of time. He also became active the century, despite his underrepresentation on in the political landscape of a national level. The Harleston family papers the city, founding Charleston’s chapter of the N.A.A.C.P. and document his life and artistic career, as well serving as its first president. as that of his wife, Elise Forrest Harleston, a After a long courtship, teacher and one of the first African American much of which was carried women photographers in the United States. out through a lively correspondence, Teddy and Edwin “Teddy” Harleston was born in 1882 Elise married in 1920 and in Charleston, South Carolina, to a prosperous opened the Harleston Studio in Charleston in 1922. Harleston middle-class family. He attended Avery Normal received several prominent School, graduating as valedictorian in 1900 commissions in the 1920s and 1930s, including portraits of before going on to Atlanta University, where philanthropist Pierre DuPont W.E.B. Du Bois became his professor and and the president of Atlanta University. He was invited by mentor. He received a scholarship to the School Aaron Douglas to participate of the Museum of Fine Arts in Boston, where he in the painting of the murals at Fisk University, and he received received a highly traditional training from 1905 the Harmon prize in 1931 for to 1913. his painting The Old Servant.

Despite his many accomplishments, however, the majority of Harleston’s Harleston was one of the South’s great artists recognition came after his death in 1931. The Harleston at the turn of the century, despite his collection includes much of his correspondence with Elise, as underrepresentation on a national level. well as papers in relation to commissions, financial records, clippings, exhibition brochures, and several drawings and sketchbooks. An original sketch by Edwin A. Harleston. PAUL R . JONES

(1928 – 2010) Art collector, businessman, activist

businessman by profession, Paul Jones Howard University. In the nevertheless became a major figure in a 1960s, Jones became active in the fight for civil rights; a Anumber of communities, perhaps most member of the Birmingham notably that of African American art collectors. Interracial Committee, he later worked for the United States Jones began collecting art in the 1960s, after Department of Justice on Civil noticing a marked lack in the representation of Rights issues. Jones served as regional director of ACTION; African American artists in public galleries. From director of the Model Cities that time forward, Jones’ collection grew steadily, Program in Charlotte, North Carolina, in the early 1970s; driven by a passion that extended beyond any and a senior staff member of desire for personal profit or fame. the Committee to Re-elect the President [Richard Nixon] in 1972. Jones’ collection His goal, as he described it, The Paul R. Jones was to “incorporate African collection consists of the grew steadily, American art into American collector’s personal papers, art,” one which eventually including printed material, driven by a passion motivated him to donate the correspondence, photographs, majority of his collection, as subject files, and audiovisual that extended well as his personal papers, to material, as well as hundreds universities, where it could be of books from his personal beyond any desire both displayed and actively library. Materials document incorporated into scholarship Jones’ involvement in the for personal profit and education. Today, there are African American arts major Paul R. Jones collections community, as well as his or fame. at the University of Alabama work with ACTION, the and at the University of Model Cities Program, and Delaware. Paul R. Jones was the Committee to Re-elect the born in Bessemer, Alabama, President [Richard Nixon]. and grew up in the Muscoda He donated his art collection Mining Camp of an iron and to numerous museums steel corporation. including the Paul R. Jones Art Collection at the University of He attended the historically Delaware and the Paul Jones black Alabama State Collection at the University of University in Montgomery, Alabama College of Arts and Alabama, and graduated from Science. Poster for the inaugural exhibition of the Paul Jones Collection at the University of Delaware. AMOS P. KENNEDY JR.

(1955 - ) Printmaker

t the age of forty, Amos Kennedy left a town of Gordo. He has since returned to Detroit, where comfortable life working as a computer Kennedy Fine Printers is Aprogrammer, bought a printing press, currently based. and began life as “a humble negro printer,” Kennedy’s hand-sewn, to use his own words. Since that time, he has hand-printed books and posters can be found in the become known for his colorful, provocative libraries of the Metropolitan prints, posters, and artist’s books – as well as his Museum of Art, Northwestern University, and University of equally colorful personality. His distinctive voice, Illinois at Urbana-Champaign both witty and insistent, manifests itself in the – but Kennedy sells his original posters for under bold typography and strong graphics of his work, twenty dollars. encouraging – or rather, demanding – a shift in Underlying his work is a perception. strong belief in the democracy of art – as he says, “My posters are for everybody.” He Amos Paul Kennedy, Jr. is representative of a recent was born in Louisiana, and renaissance of independent earned a Bachelor’s degree printmakers who have from the University of Illinois returned to the traditional at Urbana-Champaign and a letterpress, resurrecting pre- Master of Fine Arts from the 1960s presses and creating University of Wisconsin. In unique, deliberately hand- 1995, he founded Kennedy made images. Kennedy was & Sons Fine Printers in the subject of an independent Milwaukee, Wisconsin. Since documentary film, Proceed that time, he has become and Be Bold, which was a teacher in addition to created in 2008 by Laura letterpress printer, sharing his Zinger. The Kennedy & expertise in workshops around Sons Fine Printers collection the world, including Indiana includes books and printed University, Dartmouth College materials. and Emory University.

He served as head of the Detroit Printing Plant before Kennedy’s work often deals relocating to Alabama, where with issues of race, equality, he operated his press in the and freedom.

SAMELLA LEWIS

(1924 - ) Artist, author, educator

amella Lewis was born in New Orleans, become one of the central sites for scholarly exchange Louisiana, and displayed, even as a child, surrounding African American an exceptional mind. She began her visual art. She wrote an S important survey undergraduate studies at Dillard University, where of African American art, she studied under Elizabeth Catlett, the African “Art: African American” and the first anthology of American sculptor who later became the subject African American artists’ of Lewis’ own study. She transferred to Hampton writings, “Black Artists on Art” Institute, where she earned a Bachelor’s degree in – and, when the time came to publish her books, she founded art history in 1945. She earned a Master’s from the first African American- Ohio State University in 1948, followed by a owned art publishing house, Contemporary Crafts. Ph.D. from the same institution in 1951, becoming the first African American woman to receive a Lewis has continued to create her own work doctorate in art history. throughout her career as an art historian and educator, and her art has been exhibited This was not to be Samella the conversation surrounding in museums and galleries Lewis’ only first in an artistic African American art throughout the country, or professional capacity; over and artists: the lack of a including the Hammer the course of her career, she place for such conversation Museum, in Los Angeles, the continually devised creative to grow – for artists and South Side Community Center, solutions to problems or critics to meet, converse, and in Chicago, and Bill Hodges absences she felt needed to engage in debate. She set Gallery, in New York City. be addressed. In 1969, Lewis out to correct this problem began teaching art history in all its dimensions; she The Samella Lewis at Scripps College, one of established a physical space papers include writings, the Claremont Colleges in for the exhibition of black art, correspondence, printed California, and she remained founding in the Museum material, subject files, there until 1984, becoming of African American Art photographs, slides, and the college’s first tenured in Los Angeles and serving audiovisual material. African American professor as its first curator until and a beloved mentor to her 1986. students. The same year, she Lewis spent much of her established the International career addressing what she saw Review of African-American Program for an art exhibition as a significant impediment to Art, a journal which has curated by Samella Lewis.

JAMES A. PORTER

(1905 – 1970) Artist, art historian

ames Amos Porter was born in Baltimore, photographs, and Maryland, on December 22, 1905, to Lydia and printed material. Porter’s correspondence dates from J John Porter. After graduating from Howard 1928-1970 and relates to his University with a bachelor’s degree in art in 1927, research in addition to his role as head of the Howard he went to New York City to continue studying University Department art. He graduated from New York University with of Art and director of the Art Gallery. Notable a Master of Arts in Art History in 1937. While correspondence includes studying in New York he met Dorothy Burnett, a several letters that document his intention to publish a librarian at the Harlem branch of The New York follow up edition of Modern Public Library. They were married in 1929 and had Negro Art intended to include post-World War II one child, Constance Porter. In 1943 he published artists. Modern Negro Art, a seminal work documenting Porter’s personal African American art from the 18th century to the papers consist of early report mid-20th century. Porter became the head of the cards from Armstrong Manual Training High Howard University Department of Art and the Art School in Washington, D.C., Gallery in 1953. Dorothy Porter was the director of and other items such as diplomas and certificates. the Moorland-Spingarn Research Center at Howard The subject files include his University. Porter died on February 28, 1970. research files on all aspects of art produced in the African Diaspora, including The subject files The collection consists of Brazilian art, Cuban art, the papers of James A. Porter and others. Printed material include his research from 1914-1970. The papers includes off prints and other include artist files, audiovisual articles written by Porter files on all aspects of material, correspondence, himself, as well as material personal papers, photographs, published about him. Other art produced in the printed material, subject files, general printed material and writings. The artist files includes posters, programs, African Diaspora, document Porter’s research and art exhibit catalogs. into artists in the African Finally, Porter’s writings including Brazilian art, Diaspora, focusing primarily include several drafts of on African American artists. an article on Robert Scott Cuban art, and others. They include correspondence, Duncanson. Exhibition catalogue from 1953, the year that Porter became head of the art department at Howard University and the curator of its gallery, beginning an era of the University’s leadership in the exhibition of African American artists. WALTER AUGUSTUS SIMON

(1916 – 1979) Artist, professor of art

n a lecture on the delineation between the Colombo, Ceylon. Despite his many responsibilities, Simon American North and South, Walter A. Simon found time to paint, and his art wrote, “I find myself an interested by-product drew attention from foreign as I well as American press. of those two distinct cultures – having claimed After returning to the successively as home: Brooklyn, Greenwich Village, United States in 1969, Simon drew on his wide experience Savannah, Georgia, and Petersburg, Virginia.” When as a professor at a number he spoke those words in 1953, Simon was still a young of universities. As he did man; over the course of his career, he would transcend throughout his life, Simon expanded his role beyond that not only the Mason-Dixon line, but an entire gamut of a professor, serving as an of geographical, professional, and artistic boundaries. advocate for minority students in university administration An artist, educator, and diplomat, Simon was able not and taking on a number of only to integrate a remarkable range of experiences, other projects to expand the experience of hisstudents. but also to share the benefits of such multiplicity. As he He advised student groups, states in an early letter to his wife: “It’s very possible arranged artist residencies on campus, and was instrumental to have different colors – I think it a good thing – it in bringing important figures prevents you from becoming small [and gives you] an like Maya Angelou and Sonia Sanchez to speak to students. adaptability that enables you to see farther because you As one student wrote in an see in more than one direction.” article after his death in 1979, “Walter Augustus Simon came to Bloomsburg University in Born in 1916 in Brooklyn, of war. Simon also wrote 1971 to teach art history; he New York, Walter Augustus faithfully every day to his did much more than that. In Simon was hailed as a child fiancée, Virginia Spottswood, short, he became a landmark.” prodigy, and had received whom he married in 1942, commissions for portraits before he was shipped overseas. The Walter Augustus Simon by the time he was 16. After Upon his return, he earned papers contain correspondence, graduating from Pratt Institute his B.A., M.A., and PhD from certificates and awards, and the National Academy New York University. In 1961, writings, lecture material, of Design, Simon served with Simon won a position as a photographs, and printed the U.S. Army during World cultural attaché in the United material. War II – painting at each of States Information Services his postings, and eventually in Cairo, Egypt, beginning a Exhibition brochure from Simon’s operating as a kind of unofficial diplomatic career that brought one-man show at a gallery in documenter of the landscape him to Kabul, Afghanistan, and Cairo, Egypt.

MILDRED THOMPSON

(1935 – 2003) Artist

ildred Jean Thompson, African The collection consists of Thompson’s papers from American painter, sculptor, printmaker, 1949-2009 and includes musician, and photographer, was born in correspondence and personal M papers; artwork; writings; Jacksonville, Florida, in 1936. Thompson began her subject and teaching files; formal training as an artist at Howard University in printed material; photographs; audiovisual material; and 1953, under the guidance of James A. Porter. After digital media. The materials graduating, and with the encouragement of another document Thompson’s work as an artist, musician, mentor, Samella Lewis, she traveled to Germany photographer, writer, and where she studied at the Hochschule für bildende teacher. Künste Hamburg. In 1961, Thompson briefly returned Correspondence is both to the United States. However, after encountering professional and personal in racism while trying to exhibit her art, Thompson nature, and includes numerous letters from Thompson’s expatriated to Düren, Germany. She returned to the friend and fellow artist Gillian United States once again in 1974, assuming a position Lewis; personal papers include notebooks, a scrapbook, and as artist-in-residence in Tampa, Florida. She worked other materials. Artwork for a few years in Washington, D.C., and Paris before includes numerous hand-made books composed of original finally settling in Atlanta, Georgia, with her partner, photographs by Thompson, Donna Jackson. as well as three other original works of art. Writings consist of poetry and prose, including several children’s books with While Thompson is perhaps and prose, and served as a illustrations by Thompson and best known as an abstract contributing editor at Art articles written for Art Papers, painter, her oeuvre also Papers, an Atlanta-based art as well as a few pages of sheet includes wooden sculptures, magazine, from 1987 through music. The bulk of the printed drawings, lithographs, and the early 2000s. Throughout material consists of articles photographs. She was also her career, Thompson taught by Thompson and materials involved in a variety of other drawing and art courses at pertaining to her exhibitions. creative pursuits. Thompson numerous institutions in the was a musician/songwriter United States and Germany, who wrote original music and including Dusseldorfer Schule Letter from Thompson to her performed in a blues band, Kollegium in Düren, Spelman mentor, James Porter, written Wedo Blues, with Donna College in Atlanta, and The during her thirteen-year Jackson. She also wrote poetry . expatriation in Germany.

DOX THRASH

(1892 - 1965) Artist, printmaker

ox Thrash, African American artist and documents. Correspondence primarily contains letters sent printmaker, was born in Griffin, Georgia. to Thrash from the Works He left school after fourth grade and traveled Progress Administration D Federal Art Project regarding around the United States in his teens, eventually his work for the organization. settling in Chicago, Illinois, in 1911. He worked as Other correspondence is from universities, art museums, and an elevator operator and in 1914, enrolled in night artist organizations regarding courses at the Art Institute of Chicago. After the the exhibition or purchase of Thrash’s work. One such letter, United States entered World War I in 1917, Thrash from the Contemporary Art joined the Army. He served in France with the 365th of the American Negro jury committee and signed by Hale Infantry Regiment, 183rd Brigade, 92nd Division, also Woodruff, discusses concerns known as Buffalo Soldiers, the first American soldiers about all-Negro exhibitions to fight in the war. He resumed his art training in and the possibility that they inadvertently encourage 1918 after returning to America and graduated from segregation. the Art Institute of Chicago in 1923. The collection also contains two photographs of Thrash and several newspaper Thrash again traveled the honor of his mother. Thrash clippings documenting his country from 1923-1925, is best known for his work in work as an artist. Printed eventually settling Philadelphia, this medium, a lithographic material also includes a Pennsylvania. He took a printing process that uses a brochure from an exhibit job as a janitor and worked carbon-based abrasive on of African American artists on his art in his spare time, copper plates to create a print that included Thrash and a gaining local recognition due image in tones from pale gray broadside of “Art Outlook” on in part to his membership in to deep black. which he sketched two pencil the Tra Club of Philadelphia. drawings. From 1936-1939, Thrash In 1940, Thrash married worked for the Federal Art Edna McAllister. Thrash died Project of the Works Progress in 1965 at the age of 72. Administration, supervising the Graphic Division for three The small Thrash collection years. During this time, Thrash consists of materials relating Cover page from Thrash’s invented the carborundum to the artist from 1920-1966, manuscript, which describes the carborundum print-making mezzotint printmaking including correspondence, technique he invented and named technique, which he called photographs, printed material “Opheliagraph Printing” for his “Opheliagraph printing” in and a small number of other mother.

AFRICAN AMERICAN ART & ART HISTORY COLLECTION INDEX

Camille Billops and James V. Hatch Archives MSS 927

James V. Hatch and Camille Billops Papers MSS 1226

Amalia K. Amaki Papers MSS 1219

John Biggers Papers MSS 1179

Benny Andrews Papers MSS 845

Barbara Chase-Riboud Papers MSS 1292

Gylbert Coker Papers MSS 1042

Cedric Dover Papers MSS 1108

Carroll Greene Papers MSS 1220

Edwin A. Harleston and Edwina Harleston Whitlock Family Papers MSS 1161

Bill Howell Collection MSS 1213

Delilah Jackson Papers MSS 923

Paul R. Jones Papers MSS 1187

Kennedy & Sons Collection MSS 908

Whitney LeBlanc Papers MSS 1141

Samella S. Lewis Papers MSS 1132

James A. Porter Papers MSS 1139

Walter Augustus Simon Papers MSS 1057

Mildred Thompson Papers MSS 1199

Dox Thrash Collection MSS 1275

John Ralph Willis Papers MSS 1208

Additional collections committed: Kevin Cole, Michael D. Harris

Finding aids for these collections are available through the Rose Library’s website: findingaids.library.emory.edu/ Stuart A. Rose Manuscript, Archives, and Rare Book Library

Robert W. Woodruff Library, Emory University 540 Asbury Circle Atlanta, Georgia 30322

Rosemary M. Magee Director rose.library.emory.edu

For more information about the Rose Library’s African American collections, please contact:

Pellom McDaniels III, Ph.D. Curator of African American Collections 404-727-6276 [email protected]

The Stuart A. Rose Manuscript, Archives, & Rare Book Library collects and connects stories of human experience, promotes access and learning, and offers opportunities for dialogue for all wise hearts who seek knowledge by preserving distinctive collections; fostering original research; bridging content and context; and engaging diverse communities through innovative outreach, programming, and exhibitions.