The exhibition features collages, watercolors, and prints from the 1970s and 1980s by Romare Bearden, a descendant of the Harlem Renaissance, a great storyteller, and a master colorist. Romare Bearden (1911-1988), an author, visual artist, songwriter, and jazz aficionado, is recognized as one the most creative and important artists of the 20th century, even spurring a centennial celebration at dozens of national museum including the Studio Museum in Harlem. Migrating from Charlotte, North Carolina to New York when he was a toddler, Bearden quickly became part of the cultural fabric of New York City. His familyís house was a meeting place for major figures of the Harlem Renaissance, including writer and social activist Langston Hughes and Beardenís second cousin and early patron Duke Ellington. A member of the Harlem Artist Guild and founding member of the civil rights group The Spiral, as well as of the Studio Museum in Harlem, Romare Bearden played a key role in the evolution of black arts and culture throughout the 20th century.
Beardenís collages in Storyteller ó including mural maquettes, an Olympic poster, and a book jacket for a collection of poems by African writers ó highlight the artistís mastery of the medium for which he is most remembered. Intended for public spaces and distribution, these collages symbolize the reach of Beardenís artwork and his legacy. His approach to collage, as seen in this exhibition, was improvisational, intuitive, and inventive, not unlike the creative process of jazz and blues that tends to evolve somewhat spontaneously. Bearden considered his collages to be paintings and once said of them that ďany reproduction will suit my purpose, because, like the ancient makers of mosaics, Iím really drawing and painting withÖpaper.Ē
In addition to collage, Storyteller features watercolors, monotypes, and prints.
Prints based on his collages are showcased in his Odyssey series, which illustrates Homerís epic poem; the series seemingly departs from his best-known work of edgy urban and jazz scenes or his depictions of African American life in the rural South. Yet, because Bearden depicts these Greek mythological figures as black, he invites a comparison between classical myth and African American culture. Viewers may liken the Greek king Odysseusí arduous and heroic ten-year search for home after the Trojan War to African American struggles. Replacing white characters with black figures, Bearden attempts to defeat the rigidness of racial roles and stereotypes and open up the possibilities and potentials of blacks. Bearden says about this series and his work in general, "What I tried to do is take the elements of African American lifeÖ.and place it in a universal framework."
Jenkins Johnson Gallery Website