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Richmond, UK (eBay)
www.meetup.com/London-S-SW-Startups/events/182824032/
thanks Andrew Jordan, Francisco Ferreira, and eBay for the awesome place
Trip to Mount John, Tekapo, South Island, New Zealand, from Tekapo Township, on Thursday 4th November 2021.
Photographer: Leighton Smith.
Johnson, William Henry (1901–1970)
Boats in the Harbor, Kerteminde
Oil on burlap
21 1/2 x 25 inches
Circa 1930–1931
Regarded as one of the most progressive painters of his day, William Henry Johnson was born in Florence, South Carolina, the son of an African American mother and absent white father. Growing up in modest circumstances, his early interest in art was sparked by copying comic strips that ran in the local newspaper. He left home at the age of seventeen, moved to Harlem, and, for the next three years, worked a series of menial jobs to underwrite his enrollment at the National Academy of Design in 1921. At the academy, Johnson received numerous honors and earned the crucial support of one particular instructor, Charles Hawthorne. Worried that “the youth’s talent would be crushed by poverty and prejudice,” Hawthorne played a key role in the promising artist’s development, sponsoring Johnson’s attendance at the Cape Cod School of Art and later raising money to underwrite a trip abroad.
Arriving in Paris in 1926, Johnson was thrilled by the city’s vibrant cultural scene and its participants. His friendships with modern artists such as Henry Ossawa Tanner and the exposure to the works of Paul Gauguin, Vincent van Gogh, Chaïm, Soutine and Paul Cézanne inspired Johnson to experiment with color and form in ways that transcended his formal academic training. During an extended sojourn to the French fishing village of Cagnes-sur-Mer in 1929, he met Holcha Krake, a Danish textile artist sixteen years his senior. Their unlikely courtship—given their differences in race, culture, and age—was briefly interrupted when, in late 1929, Johnson made a return visit to the United States in hopes of solidifying his American reputation. His submission of six paintings to the Harmon Foundation arrived after the application deadline that autumn, but was permitted to stand at the request of juror George Luks. The jury then voted unanimously to recognize Johnson with the gold Distinguished Achievement Award.
After marrying in 1930, the newlyweds set up house in Kerteminde, Denmark, a seaside tourist destination replete with subject matter. Johnson’s expressionistic paintings from this period—often depicting the charming harbor or countryside—are characterized by thick, energetic brushstrokes and a highly keyed palette. Although their exhibition opportunities were rather localized and resulted in few sales, the couple was quite happy, exploring the continent and making art. In 1938, the specter of world war became impossible to deny. The pair moved to New York, where Johnson eventually found employment with WPA initiatives.
The return to America was challenging and triggered a striking shift in Johnson’s paintings. Johnson abandoned the avant-garde style that had characterized his European pictures in favor of simpler contours and flat planes of color. Much of his new output was figurative and increasingly, as the artist described, “primitive.” “I myself feel like a primitive man . . . both a primitive and a cultured painter,” Johnson said. “My aim is to express in a natural way what I feel both rhythmically and spiritually—all that has been saved up in my family of primitiveness and tradition, and which is now concentrated in me.” Drawing on African American culture and history, as well as African lore, he executed several series of paintings that featured religious subjects, political themes, the rural South, and the modern military.
Tragedy struck in 1942 when Johnson’s Greenwich Village studio burned; two years later, Holcha died of breast cancer. Following a decade of incremental mental deterioration, Johnson suffered a complete psychiatric break in 1947 and was subsequently institutionalized until his death twenty-three years later.
The significance of William H. Johnson’s legacy might have been diminished if not for the support of the Harmon Foundation. In 1956, the Foundation was appointed trustee of Johnson’s entire estate. This estate consisted of over one thousand paintings, drawings, and prints that had been moldering in a New York City warehouse for nine years, the rent unpaid and the works untended. After cataloguing, conserving, framing, and safely storing the works, the Foundation lent Johnson’s works to major museum exhibitions and highlighted them in its own presentations and publications. When the Harmon Foundation ceased operations in 1967, it entrusted Johnson’s estate to what is now known as the Smithsonian American Art Museum. The donation agreement stipulated that the museum use the works to inspire people to “raise their sights and . . . feeling for art at the core of life.” That museum remains the largest repository of the artist’s oeuvre.
FAR OUT
TJC Gallery, Spartanburg SC
October 1, 2025 – January 3, 2026
Taken literally, “far out” means something is a long way away. Colloquially, “far out” means something is pushing boundaries… and it’s probably pretty cool. FAR OUT, the exhibition, contains artwork that falls into both categories. Like humanity has for millennia, these artworks look with wonder—into the beyond.
In the last century, an explosion of scientific experimentation motivated entire genres of fiction, fashion, and movie franchises. Visual artists were similarly inspired. While many people think of the emotionally motivated Abstract Expressionists, much of early abstract art was motivated by outward observation rather than internal reflection. Like scientists, those artists synthesized colorful landscapes from daily observation, or they pursued ideal forms, truth, and practicality with unorthodox methodology. Some artists, like Mildred Thompson, went so far as to depict phenomena at the furthest reaches of comprehension. Let these extrospective artists inspire you to observe and interpret the unfathomable. You may be inspired to charge boldly ahead, beyond yourself, or beyond tradition. You may end up far beyond Earth, and even beyond the known universe. Wherever you land, it will probably be FAR OUT.
Featured Artists: Josef Albers, Leo Amino, Carl Blair, Benjamin Britt, Lilian Burwell, John Cage, Lamar Dodd, Joseph Downing, Buckminster Fuller, William Halsey, Claude Howell, Robert Hunter, William H Johnson, Henry Pearson, Xanti Schawinsky, Alice Ravenel Huger Smith, Maltby Sykes, Mildred Thompson, John Urbain, and Kenneth Young
thejohnsoncollection.org/pages/see-tjc/exhibitions/detail...
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See also:
www.flickr.com/photos/ugardener/albums/72177720324736450/
www.flickr.com/photos/ugardener/albums/72177720322921517/
THE JOHNSON COLLECTION - A Private Collection for Public Good
thejohnsoncollection.org/the-collection/
Sharing the art it stewards with communities across the country is The Johnson Collection’s essential purpose and propels our daily work. Much more than a physical place, TJC seeks to be a presence in American art, prioritizing access over location. Since 2013, the collection’s touring exhibitions have been loaned twenty-five times, placed without fee in partner museums with a combined annual attendance of over 1.2 million visitors. In its showcase of over 1,000 objects, TJC’s website functions as a digital museum, available anywhere and anytime.
What began as an interest in paintings by Carolina artists in 2002 has grown to encompass over 1,400 objects with provenances that span the centuries and chronicle the cultural evolution of the American South.
Today, The Johnson Collection counts iconic masterworks among its holdings, as well as representative pieces by an astonishing depth and breadth of artists, native and visiting, whose lives and legacies form the foundation of Southern art history. From William D. Washington’s The Burial of Latané to Malvin Gray Johnson’s Roll Jordan Roll, the collection embraces the region’s rich history and confronts its complexities, past and present.
.The contributions of women artists, ranging from Helen Turner—only the fourth woman elected to full membership in the National Academy of Design in 1921—to Alma Thomas—the first African American woman to have a solo exhibition at a major national museum in 1972—are accorded overdue attention, most notably in TJC's most recent publication and companion exhibition, Central to Their Lives: Southern Women Artists in the Johnson Collection. Landmark works by American artists of African descent such as Benny Andrews, Romare Bearden, Elizabeth Catlett, Aaron Douglas, William H. Johnson, Leo Twiggs, and Hale Woodruff pay homage to their makers' barrier-defying accomplishments. Modern paintings, prints, collages, and sculpture created by internationally renowned artists associated with the experimental arts enclave of Black Mountain College, including Josef Albers, Ruth Asawa, Ilya Bolotowsky, Elaine de Kooning, Robert Motherwell, Kenneth Noland, and Robert Rauschenberg highlight the North Carolina school's geographic proximity to the collection's home.
Hailed by The Magazine Antiques as having staged a "quiet art historical revolution" and expanding "the meaning of regional," The Johnson Collection heralds the pivotal role that art of the South plays in the national narrative. To that end, the collection's ambitious publication and exhibition strategies extend far beyond a single city's limit or a territorial divide.
Since 2012, TJC has produced four significant scholarly books—thoroughly researched and beautifully illustrated investigations of Southern art time periods, artists, and themes: Romantic Spirits: Nineteenth Century Paintings of the South (2012); From New York to Nebo: The Artistic Journey of Eugene Thomason (2014); Scenic Impressions: Southern Interpretations from the Johnson Collection (2015); and Central to Their Lives: Southern Women Artists in the Johnson Collection (2018). These volumes are accompanied by traveling exhibitions that have been loaned without fee to partner museums with a combined annual attendance of over 1.7 million visitors.
Smaller curated presentations rotate at the collection's hometown exhibition space, TJC Gallery. Individual objects are regularly made available for critical exhibitions such as La Biennale di Venezia, Afro-Atlantic Histories, Outliers and American Vanguard Art, Leap Before You Look: Black Mountain College, 1933-1957, Alma W. Thomas: Everything is Beautiful, Riffs and Relations: African American Artists and the European Modernist Tradition, and Bold, Cautious, True: Walt Whitman and American Art of the Civil War Era and featured in important publications and catalogues, including The New Encyclopedia of Southern Culture: Art & Architecture, and The Civil War and American Art.
In 2016, the state of South Carolina honored The Johnson Collection with the Governor’s Award for the Arts, its highest arts distinction. The commendation paid tribute to the Johnson family's enduring contributions: "Equally dedicated to arts advancement and arts accessibility, the Johnsons generously share their vision, energy, passion and resources to benefit the arts in South Carolina."
"Who can say what ignites a passion? Was it those three red roses frozen in blue? An awakened connection to one's geographical roots? Perhaps the familiarity of the road to Nebo? The nucleus of what was to become our collection was formed by such seemingly unrelated catalysts. Looking back, it was always the sense of place that drew George and me to beautiful pictures—pictures that capture not only the glorious landscape of the South, but that also enliven its unique culture and dynamic history." ~Susu Johnson, Chief Executive Officer.'
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"If you’re looking for a vibe, this is where you’ll find it. Spartanburg is one of South Carolina’s most established, respected, progressive, and diverse art communities with everything from the fine arts—ballet, symphonies, and opera—to the cutting edge—street performers, graffiti, and dance mobs.
Experience the Cultural District
Downtown Spartanburg has even been designated as a cultural district by the South Carolina Arts Commission. Within the cultural district, you can walk to and enjoy world-class art galleries, studios, music venues, breweries, culinary arts, local literature publishers, coffee shops, libraries, museums, and more. Regardless of when you visit, you’re likely to encounter live music in the streets, featuring jazz, rock ‘n’ roll, or beach music.
Come experience how we put the art in SpARTanburg."
2019-06-27: Sharing a table (L-R) Faquaruddin Mehmood, project officer, Islamic Development Bank; Mr. Chidiebere Ibe, Chair, Governing Council, IPPAM NI and other Officials during the Workshop on Strengthening Capacity Development Effectiveness for Inclusive Growth and Sustainable Development in Africa.
Youth For Development 2017 presentó "Lecciones aprendidas de los desastres naturales"
Organizado por la Promoción 2017 de la Facultad de Ingeniería. Con Isabel Chiyón, Mara Seminario, Renzo Reyes, Reynaldo Hilbck y Julio Kuroiwa.
Artists, teachers, and staff new to Summer Arts & Learning Academy participated in their first professional development this weekend. The group discussed and learned trauma-informed practices, responsive classroom strategies, and saw co-teaching and arts integration in action.
Artists, teachers, and staff new to Summer Arts & Learning Academy participated in their first professional development this weekend. The group discussed and learned trauma-informed practices, responsive classroom strategies, and saw co-teaching and arts integration in action.
image produced 4 April 2011
You can view s slideshow of some of my recent work, accompanied by music, at:
The National Conference on “Sustainable Development Goals: Preparedness and Role of Indian Agriculture” was organised on 11-12 May 2017 in NASC Complex, New Delhi, India. The main aim of the conference is to assess the current status and prepare a road map for Indian agriculture to achieve Sustainable Development Goals (SDGs) by 2030. The conference was organized by Trust for Advancement of Agricultural Sciences (TAAS) and International Food Policy Research Institute (IFPRI) in collaboration with Indian Council for Agriculture Research (ICAR).
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-25-107574
U.S. African Development Foundation: Strategic Approach Needed to Mitigate Fraud Risks