{"id":78,"date":"2020-11-06T17:40:51","date_gmt":"2020-11-06T22:40:51","guid":{"rendered":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/?page_id=78"},"modified":"2025-10-03T14:26:54","modified_gmt":"2025-10-03T19:26:54","slug":"exhibition-checklistmain","status":"publish","type":"page","link":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/home\/exhibition-checklistmain\/","title":{"rendered":"Exhibition Checklist : Entrance Gallery"},"content":{"rendered":"
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#1, #2, #3, #4, #5<\/figcaption><\/figure>\n\n\n\n
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far right,<\/em> #1<\/figcaption><\/figure>\n\n\n\n
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#2, #3, #4<\/figcaption><\/figure>\n\n\n\n
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1.
Amos \u201cAshanti\u201d Johnson (1950 \u2013 2017)<\/em>
Bajokwe Mask Study<\/strong>
c. 1971
pastel on black paper
Museums Collections, Gift of Paul R. Jones<\/p>\n\n\n\n

The Paul R. Jones gift includes several works by the late Amos \u201cAshanti\u201d Johnson, a South Carolina-based graphic artist, painter, and printmaker. Johnson\u2019s work is often figurative, and reflects the influence of Pan-African philosophy. By using African iconography and motifs, Johnson\u2019s art signals the bonds of unity and solidarity amongst all people of African descent, including African Americans. In addition to his artistic practice, Johnson also adopted the name \u201cAshanti\u201d to reflect his personal affinity with the Ashanti (or Asante) people of modern-day Ghana.<\/p>\n\n\n\n

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2.
David Driskell (b. 1931)<\/em>
Masked Man
<\/strong>1973
mixed media and collage on paper
Museums Collections, Gift of Paul R. Jones<\/p>\n\n\n\n

David Driskell holds a significant position in American art history, as an artist, scholar, and educator. First trained as a painter at Howard University, Driskell received a Masters of Fine Arts degree from the Catholic University of America in Washington, D.C. In 1976, he curated the groundbreaking exhibition Two Centuries of Black Art: 1750 \u2013 1950<\/em> at the Los Angeles County Museum of Art, and he has been the recipient of numerous honors, including ten honorary doctoral degrees. Driskell currently holds the title of Distinguished University Professor of Art, Emeritus, at the University of Maryland, College Park, and he is regarded as one of the leading authorities on African American art. As an artist, Driskell works primarily in collage and mixed media, employing the juxtaposition of materials to convey a complex message to viewers. In this work, the collaged elements of the figure\u2019s face, half-real, half-masked, embody not only Driskell\u2019s use of diverse materials, but also what W.E.B. Du Bois referred to as the \u201cdouble consciousness\u201d of African American identity. <\/p>\n\n\n\n

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3.
Evelyn Mitchell (b. 1926)<\/em>
Art Afrique
<\/strong>1970
mixed media and collage on paper
Museums Collections, Gift of Paul R. Jones<\/p>\n\n\n\n

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4.
Lee Ransaw (b. 1938)<\/em>
Remembrance: Tribute to Ancestors
<\/strong>1994
color lithograph, with hand coloring on paper
Museums Collections, Gift of Paul R. Jones

In this work, Ransaw evokes the painful experience of the Middle Passage, the journey in which millions of captive Africans, densely packed onto ships, were transported across the Atlantic Ocean to be sold as slaves in America and the West Indies. An estimated 15% of the Africans who were forced to undertake the Middle Passage died at sea, and suicide was common. With this work, Ransaw not only depicts the tragedy of that watery journey, but also memorializes the ancestors who endured the crossing, uniting the past and present in a shared history of trauma. <\/p>\n\n\n\n

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5.
Nanette Carter (b. 1954)<\/em>
Light Over Soweto #5
<\/strong>1989
oil pastel on paper
Museums Collections, Gift of Paul R. Jones

Nanette Carter refers to her works as \u201cscapes,\u201d a conceptual variation on \u201clandscapes,\u201d in which she weaves political themes and issues into works that are otherwise inspired by nature. The title of this artwork refers to the South African township of Soweto, located just outside of Johannesburg, which was the site of major political unrest during the Apartheid era (approximately 1948 \u2013 1994). Soweto was also the home of freedom fighter and future South African President Nelson Mandela. The glowing embers of \u201clight\u201d that Carter imagines to be skyrocketing over Soweto may serve as a premonition of Mandela\u2019s impending release from prison, which occurred just one year after this work was made. Carter\u2019s interest in the crisis in South Africa in the late 1980s reflects the global attention that Apartheid received at that time. <\/p>\n\n\n\n

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6.
John W. Feagin (b. 1929)<\/em>
Still Life
<\/strong>1998
oil on canvas
Museums Collections, Gift of Paul R. Jones

A life-long resident of Birmingham, Alabama, John W. Feagin received his bachelor\u2019s and master\u2019s degrees in education and visual arts from Alabama State University. For 34 years, he taught art at George Washington Carver High School in Montgomery, and throughout his career as an educator, Feagin continued to be a prolific and diverse artist. Additional work by the artist, which can be seen on view nearby, highlights the range of Feagin\u2019s artistic practice. <\/p>\n\n\n\n

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1.Amos \u201cAshanti\u201d Johnson (1950 \u2013 2017)Bajokwe Mask Studyc. 1971pastel on black paperMuseums Collections, Gift of Paul R. Jones The Paul R. Jones gift includes several works by the late Amos \u201cAshanti\u201d Johnson, a South Carolina-based graphic artist, painter, and printmaker. Johnson\u2019s work is often figurative, and reflects the influence of Pan-African philosophy. By using African […]<\/p>\n","protected":false},"author":13,"featured_media":0,"parent":47,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"page-exhibition.php","meta":{"_acf_changed":false,"footnotes":""},"class_list":["post-78","page","type-page","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/pages\/78"}],"collection":[{"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/comments?post=78"}],"version-history":[{"count":60,"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/pages\/78\/revisions"}],"predecessor-version":[{"id":303,"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/pages\/78\/revisions\/303"}],"up":[{"embeddable":true,"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/pages\/47"}],"wp:attachment":[{"href":"https:\/\/exhibitions.lib.udel.edu\/collecting-as-activism\/wp-json\/wp\/v2\/media?parent=78"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}