The Whole Art Nebula Ojenis Studio

WARNING: Language in this episode may not be suitable for sensitive listeners.



In this episode, I read from William Wells Brown's book from 1865 titled, The Black Man: His Antecedents, His Genius and His Achievements, focusing on the first part of the author's memoirs as he recounts his early life as a slave.



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Your contributions make a real impact in ensuring these stories
of Black artists are heard and celebrated. Together, we're bridging some of the gaps in art history, one episode at a time.

 

To make your donation and claim your gifts, please visit our website at
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Stay tuned for more incredible stories and enriching episodes. For the next couple of weeks I’ll be giving you more content to shed light on this fundraising campaign. Again, thank you and be on the lookout for more!





























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John Nelson Arnold believed that Edward Bannister’s artistic legacy would endure. He observed that Bannister approached nature with a poet’s sensibility, capturing skies, rocks, trees, and distances on canvas with both vigor and poetic beauty.


Arnold predicted that over time, Bannister would be recognized as one of the leading American painters. In a time when American painting
lagged behind European art, Arnold couldn’t foresee the eventual rise of the uniquely American Hudson River School, which celebrated the nation’s untamed wilderness and vast landscapes. Despite witnessing the Civil War and the end of slavery and seeing his Black friend gain national recognition, Arnold couldn’t predict that persistent racial prejudice would lead to Bannister’s omission from 19th-century American landscape painting histories.



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Source:

·     
Bearden, Romare and Henderson, Harry (1993). “A History of
African-American Artists: From 1792 to the Present,” Pantheon

·     
Town of St. Andrews, New Brunswick, Canada, Heritage Arts &
Culture: https://www.townofsaintandrews.ca/community/heritage-arts-culture/

·     
Lowell Institute: https://lowellinstitute.org/about/

·     
“A Look Back at John Brown,” Finkleman, Paul, Prologue Magazine,
Spring 2011, Vol. 43, No. 1, National Archives, https://www.archives.gov/publications/prologue/2011/spring/brown.html

·     
“Biography: John Brown,” American Battlefield Trust,
https://www.battlefields.org/learn/biographies/john-brown

·     
“WILLIAM WELLS BROWN (CA. 1814-1884),” Engledew, Devin, Mar. 08,
2007, Blackpast, https://www.blackpast.org/african-american-history/brown-william-wells-1814-1884/

·     
Studio Building (Boston, Massachusetts):
https://en.wikipedia.org/wiki/Studio_Building_(Boston,_Massachusetts)

·     
The Barbizon School: https://www.theartstory.org/movement/barbizon-school/

 
·      Goddard
Memorial State Park: https://riparks.ri.gov/History-HistoryGoddard

·      George
William Whitaker: https://riheritagehalloffame.com/George-Whitaker/

·      CPI
Inflation Calculator: https://www.in2013dollars.com/

·     
Eimerich Rein: https://www.askart.com/artist/eimerich_johan_rein/117717/eimerich_johan_rein.aspx?alert=info

·      George
Inness: https://www.metmuseum.org/toah/hd/inne/hd_inne.htm
















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Despite the brevity of his career, Matt Baker left an indelible mark on the comic book industry. He challenged norms, shattered stereotypes, and paved the way for future generations of diverse artists.



His artwork continues to inspire and influence contemporary creators, and he is recognized as a pioneer. Baker's contributions to the medium, particularly in depicting strong and empowered women, remain significant and have had a lasting impact on the world of comic art.



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Source:

Garcia, Mike (July 27, 222). “A Brief History of Female Superhero
Comic Book Covers,” The Nerd Hoard


Phantom Lady: https://pdsh.fandom.com/wiki/Phantom_Lady#:~:text=4%20See%20Also-,Origin,darkness%20and%20make%20herself%20invisible.

 

African American History 1940s Timeline: https://www.thoughtco.com/african-american-history-timeline-1940-1949-45441

 

Tilley, Carol (2012). "Seducing the Innocent: Fredric Wertham
and the Falsifications that Helped Condemn Comics". Information
& Culture. 
























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My guest, Kevi Yada, joins me this time, to talk about one work by Minnie Evans. If you haven't listened to our episode on Minnie Evans, I highly recommend it.

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Minnie Evans is considered an outside or outsider artist. An outsider artist is an artist that has had no formal training. They are self-taught. The term outsider is in reference to being outside of traditional academic instruction. Minnie Evans, herself, was very far from traditional.

She didn't start drawing until she was 43 when a voice told her she must “draw or die.” On Good Friday, 1935, Minnie unknowingly embarked on her new passion, and created her first drawings - two small pictogram-like works. Both are now in the collection of the Whitney Museum of American art.



Source Material:

Anthony Petullo Art Collection: https://www.petulloartcollection.org/minnie-evans/

“Aspects of Minnie Evans” by Nathan Kernan: On Paper, Vol. 1, No. 6 (July -August 1997), pp. 12-16 (5 pages), Published by: Art in Print Review



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