Two local curators, Emily Smith and Francis Thompson, selected images that they found most representative of the theme for each of our online galleries. Those images serve as the key image for each gallery on this website. Thanks to both Emily and Francis for their generosity in volunteering their time and service to this effort.
Thank you to organizers for inviting me to be a part of this incredible project. I congratulate each artist and thank them for sharing their work with this community. I was truly inspired by the range of expression shared by the works in the categories of Identity, BLM, and In Memoriam. The breadth of talent made selecting representative images a difficult task as artists addressed these themes in the visual languages that most resonated with them. Many works stood out.
Emily Smith
Thank you to all of the artists that submitted works to the BLM RVA Art 2021 virtual exhibition. Every piece conveys a powerful, impactful message. It was an inspirational experience in selecting and viewing the works made by the RVA community. The work empasses incredible skill, ingenuity and passion, all voiced through the deeply meaningful themes provided by the organizers. I invite the viewers to share in that enriching experience by visiting each virtual gallery to see each piece and watch each video. Deep appreciation and admiration to the artists, organizers, and participants in creating this exhibition project for diversity, social justice, and Black Lives Matter.
Francis Thompson
Beginning at 7:00pm on March 5th, you can view our pre-recorded video conversations between our guest curators Emily Smith and Francis Thompson and some of the artists in this exhibition. Get ready to view these interviews by subscribing to our YouTube channel. After their premiere, these interview videos will be available for viewing any time throughout the run of this online exhibition.
Reclaiming the Monument Project
Marcus David Peters Circle
by utilizing photography, oil painting, digital painting, computer animation, and projection mapping, the team of artists have created an artwork that combines traditional portraiture and surrealism with modern technology. / video is virtual, but also can be projection mapped on an 11 foot vinyl print
Selecting the signature piece for Injustice in America posed a challenge with the diverse and compelling artwork submitted. Would I approach by selecting work that is most accurate in its depiction, the strongest execution in craft, or most innovative in its approach? Julian Cordero, Eric Robinson, Dean Whitbeck and Blythe King brought me to contemplate the human expressions of their subjects and examine what unique story is behind each of the individuals they introduce. The video performances by Rumput and Victor Haskins are deeply moving and thorough in their unique storytelling of accounts of racial injustice. The narrative figures and objects in Helene Ruiz, Ronald Walton, and Laurie Hoen’s are symbolically powerful to me being thought-provoking on the history of our country. I selected Marcus-David Peters Circle by Reclaiming the Monument Project as it is visually striking. The project has had a wide reach with its various forms of media, one of which was the video projection at the site location where the community renamed the grounds of the Robert E. Lee Monument to the Marcus-David Peters Circle gaining prominent national visibility. An area that serves as a centerpoint for civil rights action, peaceful protest, community, and respectfully giving light to countless accounts of injustice in America. Thus, here too, does Reclaiming the Monument Project serve as a centerpoint to the many stories and voices by the artists within the gallery.
Francis Thompson
Members of the Reclaiming the Monument Project interviewed by Francis Thompson
I interpret The Black Pastoral as being who you are without reserve, without influence. Celebrating natural beauty as part of the black experience reminds us to be guided in the basic freedom of diversity, culture, and individuality. C.A. Hartway’s sculptures combine stylistic African cultural elements with contemporary fashion, reminiscent of the pandemic. The black queens of Besa Saka and Dame Dame by Janelle Washington emphasize power in authentic beauty. Figures move with gestural motions in dreamlike environments of Aaron Uzzle’s paintings. Colin Ferguson captures his son in a detailed, vivid conté on paper drawing. Natural Beauty by Dayna Balough captured the theme for me perfectly. The intense gaze of the figure is visually arresting, and the painterly marks generate a vibrancy of the individual.
Francis Thompson
As I reviewed the works for Inspiration and Aspiration, I found it resonated with the artists in a multitude of subjects. Maureen McCarron depicts greatly influential historical icons through illustrative collage on paper; American novelist James Baldwin and Underground Railroad conductor Harriet Tubman. Watercolor by Judy Holloway pairs an inspiring youth with Kamala Harris, the nation’s first female, Black, and South Asian American vice president. Capturing the spiritedness of a competitive ball game, @sheedtyme2pics shares with us how influential basketball has been to him in Welcome 2 da Jungle? and Da Jungle Is me!! Looks Like Me by Greg Alston exhibits impressive skill and control of the medium. The uplifting expression of the figure encapsulates the virtue of persistence through a hopeful gaze ahead, reflecting on found aspiration.
Francis Thompson
Greg Alston interviewed by Francis Thompson
As I surveyed the works under the theme Identity, several questions occurred to me: Should I think of identity as that of a community or of an individual? Is it collective, singular or something more complex? Tati Joanne’s abstraction and Ronald Lee’s symbolism represented concepts and moments shared across community and family, while others, like Chaella Dent, looked inward and considered their own individualism. I selected Eric Robinson’s painting Reflections as I felt it encompassed all the questions that I was posing. Robinson depicts a moment of introspection, both literally and figuratively, and I imagined the subject contemplating their identity as an individual and their identity in the context of a wider community—whether that be family, the BLM movement, the City of Richmond, or a global community. The dynamism of the pose – the subject in profile with their reflected face visible; their left arm crossing their chest with their fingers reaching towards their mirror self – underscores the complexity of these examinations.
Emily Smith
In Memoriam resonates across BLM and the COVID pandemic, which has disproportionately impacted people of color. Within this group there are images of intimate, familial losses – like Miguel CF’s evocative My Uncle Rod – that ground us and invite us to consider our own families. There are historic images like Dennis Winston’s Sunday Morning in Birmingham 1963 that remind us of the losses and profound sorrow that Black communities have witnessed and continue to witness. Ultimately, I selected Camara Ward’s Rest in Power: Tony, Breonna, and George. Depicted in the colors of Black Liberation, this work captures sadness for these lives lost and at the same time grounds these individuals in the power of the BLM movement reminding us that they will be remembered both for the lives they led and the push for social justice that they ignited.
Emily Smith
The category BLM-Uncategorized presented a unique challenge. How can one image capture the energy, power, and vision of the BLM movement? Works like Manuela Mourao’s representation of George Floyd and Lekia Evans’ depiction of the symbolic raised fist captured iconic and important moments that will forever recall this moment. However, in selecting Shantell Lewis’s collage The History of the Black Vote, I chose to recognize her representation of the larger arc of ongoing civil rights work. Lewis includes contemporary milestones like the elections of Barack Obama and Kamala Harris to celebrate the progress that has been made. However, in connecting these milestones with historic references to the fight against disenfranchisement and voter suppression, she reminds us that this crucial work continues today.
Emily Smith
The steering committee selected KEONI's painting, BECAUSE MAKING IT HOME ISN'T ENOUGH ANYMORE. It's an emotional and confrontational image of referencing the death of George Floyd. Read KEONI's statement to better understand the full emotional power of this artwork.
BLM RVA ART 2021 Steering Committee
Emily Smith is the Executive Director of 1708 Gallery, a non-profit contemporary art space in Richmond, Virginia. At 1708, Smith has curated projects with Molly Lowe, Adam Shecter, Tameka Norris, Jessica Segall, and Bethany Collins, among others. She has served on the Virginia Commission for the Arts and National Endowment for the Arts grants review panels and is a statewide speaker for the Virginia Museum of Fine Arts. Prior to 1708 she was the Curatorial Fellow in Modern and Contemporary Art at the Virginia Museum of Fine Arts, from March 2007 through September 2010. Projects at VMFA include the exhibitions, The Ludwig and Rosy Fischer Collection of German Expressionist Art; Matisse, Picasso, and Modern Art in Paris; and Labor and Leisure: Works by African American Artists in the VMFA Permanent Collections. Prior to VMFA, she was Director of Exhibitions at Piedmont Arts in Martinsville, Virginia (2004-2007) and the Assistant Director at Second Street Gallery, Charlottesville, Virginia (2003-2004). Smith was an adjunct faculty member in art history at Patrick Henry Community College, Martinsville, VA and was a critic for a Charlottesville, Virginia weekly paper. Smith received a MA in Art History from the University of Virginia in 2002.
Francis Thompson is the Art Program Manager at JLL. Over the past fifteen years, he has managed a team responsible for maintaining and expanding a contemporary corporate art collection installed within office buildings throughout North America. During the early part of his role with the collection, he led the curatorial development of its rotating exhibition program which has grown to approximately shows a year and now includes an array of virtual programming. On display within the corporate offices or published on the client intranet, these art experiences reflect diversity and culture which are developed through collaboration with non-profit art organizations, local museums, university art departments, and corporate employees.
Francis has worked as Assistant Gallery Director for the Ellipse Art Center in Arlington, VA, assistant coordinator for the Mountain Lake Workshops with director/producer Ray Kass, office manager for the Cunningham Dance Foundation and as Gallery Coordinator for the Virginia Tech Armory Gallery. A native of Virginia, he holds a Master of Fine Arts in Arts Administration and a Bachelor of Arts in Studio Art with a concentration in painting and drawing from Virginia Polytechnic Institute and State University in Blacksburg, VA. Francis regularly contributes to the local community through volunteering in these select active positions: ChildSavers Art Collection Committee Member, Longwood Center for the Arts Advisory Board Member, VA Tech School of the Visual Arts Advancement Council, and Section Chief for Phi Gamma Delta.