Welcome Home - Juan Logan!

One of my favorite artists, Juan Logan, an art professor at the University of North Carolina, Chapel Hill, recently posted a new video, "Welcome Home". For those unfamiliar with this creative beast of an artist, here is a short write up about the video:

Welcome Home, the title of Juan Logan's video ironically refers to the words of an older white woman welcoming a white family back to the plantation and its values. Images of a young white woman amidst an army of hooded Klansmen, which celebrates their "protection" of her womanhood, alternates with scenes that include a smiling Uncle Remus, happy in the supposed paternalistic embrace of slavery and Jim Crow, a black "coon" cat running scared from an unseen adversary, Civil War battles, and the face of a young black male, of the present as much as of the past, in the process of being erased. Logan digitally alters the imagery in the video to visually magnify its drama and draw attention to the frightening power of racial caricatures to shape our current perceptions and actions.

In Welcome Home, Juan Logan samples and alters imagery and sound from D. W. Griffin's silent film Birth of a Nation (1915), Walt Disney's live action/animation feature Song of the South (1946), Disney cartoons, footage of a 1920 Ku Klux Klan rally at the Washington Monument, and still photographs of the 1858 bombing of Charleston, the latter borrowed from the archives of the Gibbes Museum of Art.

Although born in the South, Logan’s artworks address subjects relevant to the American experience as a whole. At once abstract and representational, his paintings, drawings, sculptures, installations, and videos address the interconnections of race, place, and power. They make visible how hierarchical relations and social stereotypes shape individuals, institutions, and the material and mental landscapes of contemporary life. For instance, the silhouette of a head, which appears in many of his works, confronts the viewer to implicate him/her in the politics of social space, even in galleries and museums. He has shown extensively nationally and internationally, has had numerous solo exhibitions, and executed many private and public commissions. Logan’s works can be found in private, corporate, and public collections, including the Whitney Museum of American Art, the Philadelphia Museum of Art, the Gibbes Museum of Art, the Baltimore Museum of Art, the Memphis Brooks Museum, the Zimmerli Museum of Art, and the Boulder Museum of Contemporary Art. Logan’s awards include fellowships from the John Michael Kohler Arts Center, the North Carolina Arts Council, the Mid Atlantic Arts Foundation, the Rutgers Center for Innovative Print and Paper, the Carolina Postdoctoral Scholars Fellowship, and the Phillip Morris Companies. 

I think it's easy to see why I love this man and his art.

Latest Review of mural

The Charleston City Paper has weighed in on the mural:

August 04, 2010

ARTS+MOVIES » VISUAL ARTS

Local artist paints an important reminder of N.C.'s black history 

Missing History

by Nick Smith

Fifty years ago, four young African-American men sat at a lunch counter and helped spark a civil rights revolution.


Ezell Blair, Jr., David Richmond, Joseph McNeil, and Franklin McCain took seats reserved exclusively for whites. They were supposed to stand and eat. They didn't get served, but they were soon watched over by police who had been called by the manager. The next day, they returned with 27 other protesters. The resistance spread even further, with similar actions taking place across the South. It wasn't the first sit-in of its kind, but it was an important link in the chain of events that led to desegregation.

That Woolworth's lunch counter in Greensboro, N.C., recently became the International Civil Rights Center and Museum. The sit-in is the inspiration for Charleston artist Colin Quashie's enormous new painting, "Service," which was unveiled last week at the University of North Carolina's School of Government at Chapel Hill in an event that coincided with the 50th anniversary of the desegregation of the Greensboro Woolworth's.Quashie is best known for art that questions the cross-cultural status quo. His collection includes the "O.J. Simpson Coloring & Activity Book," with a police pursuit maze and cut-out bloody gloves; a Black American Gothic Series with Oprah remarketed as Aunt Jemima; and the hanging sculpture "Black People Love Pork Because Africa is Shaped Like a Pork Chop." His new painting includes none of his trademark biting criticism, but its development was not without challenges.

The painting itself is a bold attempt to address an inequity at the School of Government. When the establishment was built in the 1950s, 12 large pieces of art were hung to celebrate North Carolinian history, and the series had a conspicuous absence of non-white people. In 2007, a commission was created to find new art, a modest mea culpa half a century too late. One of the selecting artists was Juan Logan, best known here for last year's Prop Master show at the Gibbes. Logan has known Quashie for 15 years, thought he'd be a perfect fit, and added his name to the hat.

According to Associate Dean for Development Ann Simpson, out of the 13 artists who sent proposals, the field was narrowed to three, including Quashie. When he heard he was in the top three, the artist's initial reaction was, "Oh shit, what am I going to do now?" Quashie never pursues commissions, preferring to do his own thing unhindered by corporate hand-wringing. Yet the idea of filling in this "missing history" intrigued him. The school had only one major concern about his concept — they didn't want to see lynchings or other scenes that would cause discomfort. Quashie agreed, becoming increasingly passionate about the subject as he learned more about the Greensboro Four and their fellow North Carolinians.

"I thought I'd get bored, but the subject matter sucked me in. It was stunning what they'd done," says Quashie of the Four and the dozens of other figures he's included in his artwork. "It was inspiring. I feel like I've led a wasted life compared to the circumstances in which these people achieved what they did."

Quashie had to make it clear to the committee that he wouldn't be lampooning his subject. Simpson says that his contentious rep made the committee nervous. "We talked quite a bit with him about the spirit of this work," she says, "and what we hoped it would convey. He understood that."

The artist's reply was direct: "I know the work you've seen is controversial, but I understand what this piece needs to do — show people how far we've come and hopefully get people interested in learning more about others who contributed to African-American history."

That was enough to satisfy the committee, but they had another concern: Quashie's choice of venue. Instead of hanging the painting beside the 50-year-old art in the school's high-profile atrium, he wanted it tucked away in a first floor hallway.

"A lot of people asked about that," says Simpson. "It's not a well-traveled hallway at first glance." The school didn't want to be accused of hiding their $45,000 African-American painting off the beaten path.

"They were disappointed," says the artist. "I had to convince them of the location." He told them he'd "take the hit" if there was any criticism, arguing that he hadn't chosen the space lightly. The long, white wall is perfect for his artwork, and it's across from the dining hall where thousands of students actually have time to stop and sample his work. Plus the art is site specific — the main subjects gather at a lunch counter, interacting with each other in life-sized proportions, discussing larger-than-life matters.

The completed painting justifies Logan's recommendation and the committee's faith in Quashie. It's a breathtaking reminder of the contributions African Americans have made to North Carolina's history, from activists to teachers and businessmen, escaped slaves and abolitionists. The artist realistically depicts more than 40 notable figures with unfussy brushstrokes.

"Service" doesn't just add to the art already at the school; it will undoubtedly get people talking. It's a perfect example of an artist becoming enthralled by his topic and making it reach out to others in a vivid, stimulating way.

CHARLESTON CITY PAPER

Studio is finally ready!

The studio is finally ready! I rented it on the first of the month and immediately went about the business of making it ready for art. I installed 13 sheets of OSB on the main cinder block wall and painted it white. Now I have a surface that I can staple the linen to. While working in the space I realized what a godsend it was. The height of the lowest beams and the panels are eight feet, which is the exact height of the ceiling in the location where the painting will hang. The wall is exactly 53' long, which works out to five feet longer than the finished painting is supposed to be. I had electricity turned on but there was already a security system in place (no fire alarm however, waiting on the rep to come by today to have that installed - need it for the insurance policy). I also went to have the water turned on, only to find out that it was already flowing. The bathroom was filthy but after a lengthy clean up, everything works fine. I even have access to wifi from the business below! I set up a speaker system so I can have music, news and my audiobooks to pass the time with. In essence, it's home away from home. I also forgot to mention that the location is five blocks from the house! I can walk to work. Nice, huh? This will help when the dog days of art hit (and they will). Just after the halfway point when you can see the end but it's too far to touch. The space will help ease that anxiety. I've told myself to enjoy this because there may never be another. It will outlive me and therefore take joy and pride in each brushstroke because when it's done...it's done, so let the good times roll.

I also had a meeting this morning with Nick Smith. He's a local arts writer, but having him write an article wasn't my motive. He's also a arts videographer that shot and edited a short film on an exhibition at the Gibbes Museum of Art by Juan Logan and Susan Harbage-Page called "Prop Master". I want this painting documented, but I will have no time (or editorial distance) to do it myself. I shot him an email about the project and he is all over it. I told him that I wanted no real input in his project, what he creates, he creates. The only stipulation is that UNC has to get a few copies and be able to use them to publicize the project. The copyright will remain his and his alone. He agreed and will set up shop the moment the linen arrives and I begin installation.

www.quashie.com

UNC Commission

My commission for the University of North Carolina is officially a go. What am I talking about you ask? Here's the backstory. About two years ago I attended a lecture given by Juan Logan, an art professor at UNC, Chapel Hill. Afterwards, he approached and asked if I would be interested in submitting for a project that he thought I would be perfect for. I agreed to participate and about a month later the paperwork arrived. The scant details stated that the School of Government (SOG) at UNC were looking for artists to create a series of commissioned paintings that paid homage to African-American residents pivotal to the states history. The project was referred to as the 'missing histories' project. It was called that because in 1950, a series of 12 large paintings showcasing various aspects and persons important to the state's history were commissioned. Unfortunately, African and Native Americans were somewhat slighted. Example: Look at the painting on the right - the only black guy in the painting stands outside taking a strain on a bail of cotton. Such were the times.

Much to the UNC's and the SOG's credit, they realized that such unfortunate displays needed to be corrected. They put together a panel of faculty and consultants and embarked on a mission to create a series of 4 paintings focused on the contributions of African and Native Americans. I have no idea how many artists were asked to submit. All I know is that I made it to the top three and after an intensive interview, myself and Pheoris West, an art professor at Ohio State University, were selected to execute the four commissioned paintings.

Unfortunately, soon afterwards the full effects of the recession kicked in. Like many states, NC's budget defictit was near 2 billion dollars and being a state institution, funding was frozen and cuts were mandated. The proposed four paintings were slashed to two, then the remaining two were put on hold indefinitely. The SOG managed to have enough funds released to accomplish Phase 1 and 2 (planning and sketches). Phase 3, rendering of the paintings, remained on hold until the economy turned around or private funds could be secured to continue. Fortunately for me, the Local Government Federal Credit Union reviewed the plans for my painting and decided to put up the necessary funds for me to accomplish the work. Thank you! So now it's time to get to work. My painting will be approximately 5' x 48' and will feature nearly 40 African-Americans recognized by faculty, consultants and historians as important figures in the states history dating back to the early 1800's. The focal point of my painting will be the 1960 Woolworth sit-in in Greensboro, NC. The four A&T students that staged the initial sit-in will be featured prominently. The idea is to place the Greensboro Four on the service side of the counter serving the historic crowd. That concept grew out of the idea that the students, in seeking service, were actually serving a cause greater than themselves. By their courageous act, they set in motion a series of sit-ins throughout the South and helped to spread the concept of non-violent resistance espoused by Dr. Martin Luther King which was borrowed from Mahatma Ghandi during India's struggle against British rule. In the background outside the window, a collage of sorts will showcase some of the turbulent times many had to endure. The painting will be mounted on the lower level of the SOG just across from the school's cafeteria. I requested that location specifically because classes line up in the wide hallway to gain entry into the eating facility. The symbolism of a multi-ethnic crowd, waiting to eat together, having to walk the length of the painting will give them an opportunity to consider about how far we have all come in matters of race. I can see the piece clearly in my head but getting it on canvas will prove difficult and laborious. Nonetheless, expectations are running high on all fronts and I am looking forward to the challenge.

This week I will be trying to find a warehouse space large enough (and at the right price) to use as a studio. In the next couple of weeks while I wait for the necessary contracts to be generated, I will be doing extensive research, collaborating with historians and doing sketches. In the coming weeks, I will be posting my progress.

www.quashie.com