Mailing Home Exhibition Statement and Walking Order
Mailing Home: Who Was John Brown? Who Is Jim Crow? Who Are We? Exhibition Walking Order
Tides Converge Galleries, September 6 â€“ October 6, 2017
Many Art Works available for purchase, please enquire.
Begins at 1007 General Kennedy Ave. entrance through the China Brotsky Gallery and continues past CafÃ© RX into the Seed Gallery:
China Brotsky Gallery
1. Patrons of Anza Branch Library led by Colleen McDonald-Smalarz, Community Mosaic Mural, What Connects You to Your
Library and Community?, 2018, Acrylic on canvas (Modular Art), 48â€ x 48â€
2. Edward Smalarz, Portrait of Woodrow MacDonald, Oil on linen canvas, 24â€ x 30â€
3. Missy Martin, Portrait Commission, works-in-progress, Ann Reesman, Jacob Spies, Josefa Vaughan, Oil on canvas, 24â€ x 18â€
4. Stacey Carter, Ship at Sea, 1944, 2017, Pigment print, 24â€ x 20â€
5. Jacob Spies, Powell St. Academy of Art University, 2017, Watercolor on paper, 8â€ x 10â€
6. Seven Theme related rolling racks: (1) Letters and Vocabulary; (2) Story Boards; (3) Contemporary Views; (4) Newsclippings;
(5) St. Brigid School; (6) Muscat Scholars; (7) Matrix Reasoning: all Mixed media
7. Andrew Little, Paperclip, 2018, Summer Intensive student work, Graphite on paper, 7â€ x 5â€
8. Leslie Lopez, (Abstract) Mechanical Gears, Etching, 2.5â€ x 4â€
9. Charles Boone, Abstract, 1987, Watercolor on paper, 8.5â€ x 11â€
10. Woody Szydilk, Untitled, Figure Drawing, 2018, student work, Graphite on paper, 13â€ x 20â€
11. Lakshmi Rash, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 13â€ x 20â€
12. Michael Ly, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 20â€ x 13â€
13. Shoshana Priel, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 13â€ x 20â€
14. Sophia Ly, Live Model Figure Drawing, 2018, Summer Intensive student work, Pastel on paper, 13â€ x 20â€
15. Anne Reesman, Child in Large Hands, 2018, Pastel on paper, Image: 8.5â€ x 11â€ paper: 10" x 13â€
16. Alicia Medina, Live Model Gesture Drawing, 2018, Summer Intensive student work, 8.5â€ x 9.5â€
17. Leah Sieczkowski, Questionable Romance, 2018, Antique postcard interpreted by a child, 9.5â€ x 12â€
18. Anonymous, Fruits and Flowers Still Life, 2018, Summer Intensive student work, Pastel pencil on paper, 10.5â€ x 7.5â€
19. William Everitt, Fruits Still Life, 2018, Summer Intensive student work, Pastel pencil on paper, 7.5â€ x 10â€
20. Ambar Miranda, Mind Mapping of Peculiar Institutions, 2018, Summer Intensive student work, Pencil on paper, 7.5â€ x 9.5â€
21. June Szydlik, Portrait of John Brown, 2018, Summer Intensive student work, Graphite and colored pencil on paper, 7â€ x 5â€
22. Josefa Vaughan, Artistâ€™s Childhood Drawing (approx. 11 y.o.), Ink on paper, 6â€ x 9â€
23. Sophia Ly, Mermaid, 2018, Pastel pencil on paper, 9.5â€ x 7.5â€
24. Morocco Battle, Edges, 2018, Pastel pencil on paper, 7.5â€ x 9.5â€
25. Shoshana Priel, Live Model Gesture Drawing, 2018, Pastel pencil on paper, 6.5â€ x 4.5â€
26. Mark Rubtsov, Live Model Gesture Drawing, 2018, Pastel pencil on paper, 7â€ x 5â€
27. Caitlin Heery, Live Model Gesture Drawing, 2018, Pastel pencil on paper, 5â€ x 7â€
28. Shoshana Priel, Live Model Gesture Drawing in Maroon, 2018, Pastel on archival board, 4.5â€ x 6.5â€
29. Teddy Priel, Live Model Gesture Drawing, 2018, Pastel pencil on paper 4â€ x 8.75â€
30. Emma Rubtsova, Live Model Gesture Drawing, 2018, Pastel pencil on paper 6â€x 8â€
31. Michael Ly, Live Model Gesture Drawing, 2018, Pastel pencil on paper 5â€ x 7â€
32. Sophia Bayson, Live Model Gesture Drawing, 2018, Summer Intensive student work, Graphite on paper 10.5â€ x 8â€
33. Jacob Spies, All Puffed Up, November 8, 2016, Ceramic, 5â€ x 8.5â€ x 9â€
34. Ehren Tool, Women Lead the Way, Ceramic cup
35. Martha & Richard Shaw, The Fencers, 2009, Ceramic letter
36. Paola Perez, Forest, Reversible, 2018, Watercolor on paper, 7.5â€ x 5.25â€
37. Charles Trey Houston, Profiles of the Summer Intensive Mind, Photo print composites, 8â€ x 10â€, X24 prints
38. Jacob Spies, Sacrifices for Fashion, 2017, Lithograph, 7â€ x 7â€ image 14.75â€ x 11â€, paper; 1 In 99 Scientists Sayâ€¦, 2018,
Lithograph, framed 10.5â€ x 15â€; Peculiar Institutions, 2018, Oil on gallery wrapped canvas, 48â€ x 48â€; Play Time is Fake, 2017,
Etching, 7.5â€ x 6â€; The Food Chain, 2018, 10â€ x 12â€
39. Barn Quilt Designs with Marc Ellen Hamel, Summer Intensive, 2018: Teddy Priel, Acrylic on wood panel, 12â€ x 12â€;
Ann Reesman, Acrylic on wood panel, 12â€ x 12â€; Jacob Spies, Acrylic on wood panel, 12â€ x 12â€; Alicia Medina, Colored pencil
on paper, 8.5â€ x 11â€; Marc Ellen Hamel, Acrylic on wood panel, 12â€ x 12â€
40. Ann Reesman, Truth Will Not Be Silent, 2018, Acrylic with paper collage on canvas, 20â€ x 24â€; KKK-Buster, 2018, Marker on
paper, 12â€ x 12â€
41. Rachel Hecker, Donkey Kicks, 1990, Ink and letraset on paper, 8â€ x 4.5â€
42. Collaborative Interpretive Map of Africa, We all have African Ancestors, Letraset on framed map, 40â€ x 30â€
43. William Scott, Cleopatra Reborn, 2005, Acrylic and marker on illustration board, 24â€ x 18â€
44. Chris Watts, Live Model Gesture Drawing, 2018, Pastel on paper, 6â€ x 4â€
45. Anne Reesman, Parkland, Lady Liberty, Steps on AR-15, 2018, Pastel on paper, 12â€ x 16â€; Eye Stella Adler, 2018, Acrylic on
canvas, 16â€ x 20â€
46. Mark Harris, Pride & Prejudice, Mixed media collage, 30â€ x 40â€
47. Courtesy of Charles Boone, Old Aunt Violet, aged 81, Framed, 9.5â€ x 13.5â€
48. Mark Harris, Matthew 19:V30, Mixed media collage, 12â€ x 24â€
49. Courtesy of Charles Boone, Old Margaret, Framed, 9.5â€ x 13.5â€
50. Mark Harris, Stars and Bars, Mixed media collage, 30â€ x 40â€
51. Revathy Sree Kanagarajan, Live Model Figure Drawing, 2018, 15.5â€ x 13.5â€
52. Natalie Monique Allport Toms, Live Model Figure Drawing, 2018, 15.5â€ x 13.5â€
53. Paola Perez, Live Model Figure Drawing, 2018, 10â€ x 10â€
54. Valerie Shum, Live Model Figure Drawing, 2018, 15.5â€ x 13.5â€
55. Raoul Martinez, Alice Walker Quote, 2017, Dr. Martinâ€™s Pen White on Canson Mi-Teintes black paper, 21â€ x 17â€; Kate Millett
Quote, 2017, Dr. Martinâ€™s Pen White on Canson Mi-Teintes black paper, 21â€ x 17â€
56. William Scott, Womenâ€™s Bodybuilding, 2005, Watercolor and gouache on paper, 30â€ x 22â€
57. Josefa Vaughan, Madonna & Child with Dumbbell, 1982, Charcoal on watercolor paper, 30â€ x 22â€; Courtroom, Speaker on the
Stand, 1976, Pastel on paper, 22â€ x 30â€
58. Chris Watts, Will The Tears Extinguish The Flames?, 2018, Pastel on paper, 18â€ x 24â€
59. Linh Nguyen, Two Masks, 2017, Marker on illustration board, Diptych 9â€ x 6â€, each image
60. Josefa Vaughan, Courtroom, Defendant and Lawyer, 1976, Pastel on paper 18 3/8â€ x 22â€; Nude Woman Laying On Her
Stomach, 2018, Pastel on paper, 8.5â€ x 5.25â€; Blue Hair, 2018, Pastel pencil on colored paper, 8â€ x 10â€; Courtroom, Jury, 1976,
Pastel on paper, 22â€ x 30â€
61. Derek Boshier, The Idealist: A Future Politician, 1982, Etching 15/30, Image 9â€ x 5â€, paper 14â€ x 10â€
62. Josefa Vaughan, 17 Year Old Sister, Two Years Older than the Artist, 1970, Graphite on paper, 10.5â€ x 14â€; Flexed Arm, 1983,
Linoleum print stencil, 9.5â€ x 12â€; Chastity Belt, 1975, Litho crayon on paper, 24â€ x 18â€; Quarter Turns of the Unfinished Person,
1982, Courtesy of the Rebecca & Sergio Maggi, Oil and letraset on wood panel, 80â€ x 36â€ x 2â€, 4 panels each
63. Jacob Spies, Welcome, 2017, Watercolor on handmade paper, 17â€ x 25â€
64. Pamela Djerassi, Untitled, 1971, Ink and pigment on paper, 24â€ x 18â€
65. Dale Christine Smith, Crab Season, 2018, Acrylic on canvas, 16â€ x 20â€
66. Paola Perez, Church, ArtSeed Labyrinth Studios (SOTA portfolio), 2018, Watercolor on paper, 10â€ x 14â€; Court Room, John
Brown, 2018, Watercolor on paper, 10â€ x 14â€
67. Claudia Grubler, Mountain Landscape, 2018, Watercolor on paper, 9.5â€ x 12â€
68. St. Brigid School, Anna Henry, Portrait of John Brown, 2018
69. St. Brigid School, Iris Klein, Portrait of John Brown, 2018
70. Chloe Thomas, Troubled Sky, 2018, Craypa and watercolor, 12â€ x 9â€
71. John Hammond, Portraits of John Brown (X2), Graphite on vellum, Graphite and colored pencil on paper, 8.5â€ x 5.5â€;
72. Ann Reesman, John Brownâ€™s Wife and Daughters, Graphite and pencil, 7.5â€ x 10.5â€
73. St. Brigid School, Sophia Chin, Anika Houston, Olivia Bella, Samantha Liang, John Brown Portraits, Crayon on paper, 5.5â€ x 8â€
74. Peculiar Architecture Series, Summer Intensive with Bryant Lui Photos, 2018, Mixed media 12.5â€ x 12.5â€ x 12.5â€;
(a) Toby Priel, Catbirddog; (b) Khelaiyo Kiyoi, Ripple; (c) Ambar Miranda, Hot Dusty Sky; (d) Alicia Medina, Macro
Molecules; (e)Teddy Priel, Succeeding with Failure (collapsed box); (f) Sophia Bayson, Vanishing; (g) Ann Reesman, Web of
Life; (h) Olivia Bella, Chinatown; (i) Chloe Thomas (intern), As It Unfolds; (j) Diana Baszucki, Cotton Equilibrium
75. St. Brigid School Art Class, Ann Reesman Teaching Artist, Night Scenes with Fugitive Slaves, 2018, Watercolor and oil pastel
on paper, 12â€ x 9â€ (a) Aimee, (b) Olivia, (c) Iris, (d) Hannah, (e) Samantha, (f) Lorraine, (g) Jackson, (h) Nolan, (i) Dylan, (j)
Anika, (k) Eli, (l) Anna.
76. Max Bui, Airplanes, Summer Intensive student work, 2018, 11â€ x 16â€
77. SF Montessori Academy Pre-School Art Class, 2018, Watercolor and oil pastel on paper, 12â€ x 9â€ (a) Michelle, (b) George, (c)
Anon, (d) Nikhil, (e) Jordan, (f) Jacob Spies, Teaching Artist, (g) Penny, (h) Anon, (i) Laura, (j) Beatrice, (k) Maya, (l) Aarya.
78. Raoul Martinez, O Sleep, April 2017, Japanese Ink-stick, sumi ink, pergamenata, 20â€ x 16â€
79. Michelle Vignes, Gospel, Holy Ghost Deliverance Temple, Oakland, CA, 1982, Silver gelatin print, 11.75â€ x 8â€
80. William Scott, Portrait of Obama, 2009, Watercolor on paper, 9.5â€ x 7.5â€
81. Pamela Blotner, Dr. Bill Haglund, Forensic Exhumation, Ovcara, Croatia, 1996, Pen and ink on paper, 10â€ x 13â€
82. Collaborative Summer Intensive, Puzzle, 2018, Mixed media on puzzle piece cards, 24â€ x 36â€
83. Linh Nguyen, Smokeyâ€™s Friend, 2018, Chine colle, image 4â€ x 6â€, paper 10â€ x 11â€; Separated Kiss, 2018, Digital print, 11â€ x 14â€
84. Heidi Hardin, Biaye Family In Front Yard, East Legon, Accra, Ghana, from Art of the Family (The Four Muslims) Part 2 of The
Human Family Tree/A Walk Through Paradiseâ€¦, Oil and pastel on gesso board, 15.5â€ x 20â€
85. Jacob Spies, Castro District, 2017, Watercolor on paper, 8â€ x 10â€
86. Caroline Liddell, Quilt, 2018, Fabric assortments, 55â€ x 55â€
87. Heidi Hardin, Fatima at 9 in traditional Ashanti Princess outfit, in 2001 in East Cantonments, Accra, Ghana, 2017, Oil pastel on
paper, 20â€ x 15.5â€
88. Susanna Kohn, Selbst Portrait in Beach Done at Sunset, 2018, Ink marker on paper, 8.5â€ x 11â€; Arbor Day: A Tribute to Luther
Burbank, 2018, Ink marker on paper, 8.5â€ x 11â€; See No Evil, Hear No Evil, Speak No Evil Under a Coconut Palm, 2018, Ink
marker on paper, 8.5â€ x 11â€
89. Alexandra Shalamova, Flowers, Collage 13.5â€ x 9â€
90. Marissa Kunz, Garden Plant, 2017, Watercolor, 11â€ x 17â€
91. Alexandra Shalamova, Ukrainian Sculpture of Bearded Old Man, Fabric Sculpture
92. Collaborative John Brown Drawing using the Grid, 2018 Spring Intensive students work, Pencil on paper, 40â€ x 30â€
93. Nikki Vismara, So Busy, 2018, Gold-leaf, acrylic, plywood, resin, and mirror tile on wood panel, 12â€ x 12â€
94. Stacey Carter, Three Mile Island, 2018, Ink, pigment and acrylic on wood panel, 12â€ x 18â€
Please contact: Josefa Vaughan, Founder, Executive and Artistic Director, ArtSeed
Cell: 415-656-9849, Work Phone: 415-409-1761, Email: email@example.com, Website: www.artseed.org
ï‚· Stacey Carter, Gantry Crane Test Lift, Hunters Point Shipyard, 1965, 2017, Ink, pigment and acrylic on wood panel, 20â€ x 16â€
ï‚· Stacey Carter, Building 123, Battery Overhaul and Storage, Substation T, Hunters Point Shipyard, Built 1943, 2010, Ink,
pigment and acrylic on wood panel, 14â€ x 19.5â€
ï‚· Stacey Carter, Bldg. 236, Salt Water Pump House Hunters Point Shipyard. Built 1943, 2010, Ink, pigment and acrylic on wood
panel, 14â€ x 19.5â€
ï‚· Victoria Shen & Josefa Vaughan, Untitled Self-Portrait, 2007, Acrylic on canvas, 24â€ x 18â€
ï‚· Charles Trey Houston, Persistence, 2017, X3, 5â€ x 7â€ Photographic prints, 20â€ x 10â€ frame
ï‚· Jacob Spies, While You Were Sleeping, 2018, Oil on canvas, 12â€ x 16â€
ï‚· Josefa Vaughan, Sketchbook for ArtSeed Labyrinth Studios, 2018, Pastel on paper, 13â€ x 20â€
ï‚· Richard Shaw & Martha Shaw, 2 small wall pieces
ArtSeed Mailing Home Exhibition Statement
What Have We Done?
Artists, veterans, children, and disabled adults work with artists to grapple with tough subjects such as the evolution of slavery and its various contemporary manifestations and other challenges faced by democracies around the world.
Who Was John Brown?
John Brown was an ardent abolitionist and deeply religious white man who, as a young boy, witnessed the beating of a black slave his own age. Born in Connecticut in 1800,Â he was hanged for treason fifty nine years later. After decades of being centrally involved in the abolition movement he grew frustrated with prevailing pro-slavery politics.
With financial support from six wealthy patrons, Brown led nineteen followers into Harpers Ferry, Virginia, on October 16, 1859. His objective was to confiscate weapons from a rifle factory and an armory, then sweep across the southern United States, setting free every black slave he encountered. After a three-day battle, during which all but five of his men were killed, Brown was captured. His oration during the trial that followed, his interviews with journalists far and wide, and his letters written in the weeks before his death, brought the issue of slavery to the attention of the nation and the entire world.Â
Ironically, this story of John Brown, our countryâ€™s first terrorist, has been of great interest to contemporary militant white nationalists even as it inspired non-violent civil rights activism of the 1950s and ’60s. Too few people nowadays are familiar with this fascinating chapter of American history and what it has to teach about the trauma of violence and alternative approaches to creating lasting change.
Who Is Jim Crow?
“Jump Jim Crow,” or “Jim Crow,” is a song and dance from 1828 that was done in blackface by Thomas Dartmouth “Daddy” Rice, a white minstrel performer. The song was inspired by the song and dance of a physically disabled American slave. It became a great 19th century hit and Rice performed it all over the country. The subject of the song, whose lyrics express a number of racial sentiments, is a slave who is satisfied with his lot.Jim Crow laws were state and local laws enforcing racial segregation in the southern United States. Enacted after Reconstruction, they were in force until 1965. In 1890, they mandated de jure racial segregation in all public facilities in states of the former Confederacy with a “separate but equal” status for African Americans.Â It was a legal way to continue the discrimination against theÂ â€œnegroes or colored folkâ€Â in the southern states. The effectÂ of theseÂ lawsÂ developed two different societies in the U. S., inspired ongoing KKK lynching of innocent blacks, and provided cover for pervasive criminal activity that continues to this day.Â
Who Are We?
The exhibition viewer is asked to answer this question for themselves with the idea that “we” can mean themselves personally or it can refer to the citizenry with which they identify. A chair and table are provided with pencils and small sheets of paper, each with “Who Are We?” printed at the top. Please ask the question for yourself, provide your response on a slip of paper here, and tape it on the window next to the table.
Did You Think John Brown Was a Black Man?
John Brown Russwurm, a black abolitionist, was born in Jamaica 1799.Â In 1826 he would become only the second African-American to earn a college degree. The following year, he moved to New York where he met Samuel Cornish, another free black man who was also a Presbyterian minister and editor. Together, in 1827, they published Freedomâ€™s Journal, the first newspaper published by and for blacks. The paper gradually died as a result of his unpopular support of African emigration and this, coupled with what he felt was the impossibility of ending slavery at the time, compelled Russwurm, by late 1829, to move to Liberia, established in 1819 by the American Colonization Society as a home for blacks.Â He would for the next 22 years learn African languages and actively participate as an important leader in journalism and politics.
What Is ArtSeed?
ArtSeed is a 501(c)(3) non-profit organization founded in the year 2000 with a mission to connect the most resourceful and gifted with the youngest and most vulnerable citizens of the Bay Area and beyond through projects that explore links between classical and cutting-edge fine arts disciplines. ArtSeed brings artists together with children, elders, or others living with financial or other challenges through rigorous interdisciplinary fine arts projects in classrooms, long-term studio apprenticeships, and exhibitions.
What Is Tides and Tides Converge, the Exhibition Venue?
Since 1976, Tides has worked with innovative partners to accelerate toward a world of shared prosperity and social justice. Tides Converge San Francisco is a thriving 150,000 square foot multi-tenant center, comprised of twelve buildings in the Letterman District of the Presidio. A pioneer in nonprofit centers, Tides Converge houses over 75 charitable organizations and social enterprises working for social justice, quality education, international development, cultural conservation, public health, and environmental stewardship, ultimately fulfilling the Presidioâ€™s vision: combining preservation of the parkâ€™s historic resources with creation of a global center for a sustainable future.
Who Supports ArtSeed?
ArtSeed is supported in large part by individual gifts of all sizes and by gifts of time and expertise from friends. We are immensely grateful for recent generous donations from the Sam Mazza Foundation, The Cervin & Gavrich Family, Tony & Caroline Grant and Rebecca & Sergio Maggi. Thank you all very much! Click to see a full list of sponsors and in-kind donors. Please call us if you see updates and corrections that are needed.