#BlackHistoryMonth Archives – Page 2 of 2

February 18, 2021March 4, 2021

Lois Malou Jones: An Afro-Cubist-Modernist American Treasure

“The Ascent of Ethiopia,” 1932, Lois Malou Jones, Milwaukee Museum of Art.

Cubists were old white French dudes who painted blocky shapes in gray and brown, and there’d be a guitar in there, somewhere. They all seemed to have an African period, where they became enamored of African masks and imitated by flattening the faces in their paintings; then they moved on to something else. The impressionists used pastels, rarely vibrant colors. Didn’t the Harlem Renaissance meant jazz flowing from a briefly opened door in an underground speakeasy during Prohibition–maybe there was a gay poet in there, somewhere?

Lois Malou Jones has enlightened me.

I probably know a little more about modern art than the average person, as my mother taught classes on the subject, and our house was filled with Pollock prints (mine has O’Keeffe and Hopper). But I recently took a refresher class on modernism (OLLI is America’s best-kept secret and Jannie Dresser is the bomb-digitty of teachers). When we covered the Harlem Renaissance, I realized I knew very little about Black American modern artists and appallingly nothing about our American jewel, painter Jones.

Cultured, Educated, Ignored

Jones was born and raised in Boston; her parents were educated, and they, in turn, encouraged both her education and artistic development. She sold her bold and beautiful designs to department stores; she had a solo exhibit in Martha’s Vineyard at the age of 17. She apprenticed with designer Grace Ripley, and eventually created costume designs for the Denishawn dance troupe (Martha Graham was one of the students). After completing her degree at the School of the Museum of Fine Arts in Boston, however… you can guess the rest. One decorator told her that a “colored girl” couldn’t possibly produce such designs.

“Symbols d’Afrique,” 1980, Lois Malou Jones.

February 20, 2020February 27, 2020

The Secrets of Mary Jane …Somebody

She was born Mary Richards, or Mary Jane Richards. Or Mary Elizabeth. She married and became Mary Bowser/Mrs. Wilson Bowser. Also Mrs. John T. Denman and/or Mary J.R. Gavin. Sometimes she used the name Mary Jane Henry or Richmonia Richards. Maybe Ellen Bond, although that has been disputed. Maybe this is her photograph, although that has been disputed.

Grainy photo Mary Bowser — Mary Bowser, but which one? Photo from Wikipedia and Pinterest.

If you were an educated black servant in the slave-owning state of Virginia in 1861, little would be known about you. Your words would not have been written down and what was written about you by others, even the wealthy abolitionist friend whose family you served, would be filtered through their lenses. Scraps of information remembered later by family members who were children when they saw you would come to be taken as fact, whether true or not. Grainy photos replicated might be mislabelled, speculations treated as accurate, oral embellishments become history. All truth would be distorted, like seeing through a glass darkly. This would be especially true if you were a Union spy in the Confederate White House.

February 13, 2019April 13, 2021

Beautician, Roller Derby Queen, Olympic Medalist: A Tribute to Earlene Brown

Earlene Brown 1956 Olympics — Earlene Brown at the 1956 Melbourne Olympics, photo from Australian archives

When they make a movie about Earlene Brown, and surely someone must, the opening scene would be in a bowling alley, July 1964. Two immense women, one dark-skinned and the other pale-skinned, stand at the head of a lane, each gesturing at the ball and the pins. Both are laughing helplessly with wide, gap-toothed smiles; neither speaks the other’s language. Another older woman, small but wiry, comes up, speaking rapid Russian to her compatriot. She turns frequently to the other, asking in thick, broken English, “Here? Fingers in here?”

They all hold bowling balls as if they were oranges, tossing them abstractedly from palm to palm, seemingly weightless. The black woman explains and points. “Yeauh, yo thumb and these two heeah…” Her accent is a little Texas, a little southern Californian. She winds back and whizzes the ball down the lane; it slices through the ten pins, sweeping them up like dust off a broom.

The other tall one, Tamara Press of the U.S.S.R., awkwardly holds the twelve-pound ball downward, letting it hang from her fingers. Her wind-up looks the same, but when she lets the ball fly, it spins hard off the lane into the gutter, then into the wall, leaving a dent.

Of course, no record exists of this scene, when Olympic medalist Earlene Brown escorted her Soviet competitors from Tokyo through the Bowlarama in Compton. Yet a quartet of the world’s best shot putters at a bowling alley is fun to visualize, particularly if three are Soviet and the tour guide is African-American and speaks no Russian. Can’t you see the bowling alley owner, a grizzled little fella chomping a cigar, come out to protest the ding in his wall, only to run into the Soviet handlers–*coff KGB*? After all, Wikipedia notes out that Earlene’s tour of her Russian friends was “unsanctioned.”