If you have ever looked at the face on a dime, you probably know that it is Franklin Delano Roosevelt. What you may not know is that Selma Burke (1900 – 1995), a professional sculptor and art educator of the Harlem Renaissance, created the likeness of the former president that inspired the dime’s image.
The Cummer Museum’s Augusta Savage: Renaissance Woman exhibition will end its double-run at the Museum on Sunday, April 7. The groundbreaking exhibition curated by the Cummer Museum and guest curator Jeffreen Hayes, Ph.D. will then travel nationally to the New-York Historical Society, the Palmer Museum of Art at Pennsylvania State University, and the Dixon Gallery & Gardens in Memphis.
Augusta Savage became a gifted sculptor, significant teacher, leader, and catalyst for change. Overcoming poverty, racism, and sexual discrimination, Savage became one of this country’s most influential artists of the 20th century, playing an instrumental role in the development of…
Njideka Akunyili Crosby (b. 1983) was born in Nigeria, where she lived until she was sixteen. She moved to the United States in 1999 and currently resides in Los Angeles, California. Crosby is known for creating layered figurative compositions that draw from art historical, political, and personal references.
In partnership with Avant Arts, join us for a concert with HEAR in NOW is a world-class collective is a string trio that composes and improvises fluidly among free jazz and contemporary classical, folk music, and avant-garde. Be prepared to be engaged by…
Artist Gwendolyn Knight (1913 – 2005) was born in Barbados and grew up in New York. She attended Howard University where she studied with painter Loïs Mailou Jones (1905 – 1998). Knight had to leave school when the Great Depression hit. When she returned to New York, she studied with Augusta Savage, taught in Savage’s studio, and developed a friendship with the sculptor. The bronze portrait of Knight is a beautiful rendering of the young artist. Fellow artist Jacob Lawrence (1917 – 2000), Knight’s husband, who she met at Savage’s studio, said of the work, “I think of all of Augusta’s work this is surely one of the most resolved pieces plastically.”
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