Big News NOW

 

Hi everyone 

This post is to inform you of an important change: I'll be moving my blog and newsletter from Blogspot to Substack, effective today.

This transition will allow me to:

• Streamline my workflow: Substack offers a more user-friendly platform for creating and sharing content.

• Reduce costs: This move will save me a significant amount of money each year.

I understand that this may require a slight adjustment for you, but I believe this change will ultimately improve your reading experience and allow me to continue creating high-quality content.

You can subscribe/unsubscribe here: https://creativeshavingcoffee.substack.com 

Thank you for your continued support!

Sincerely, Robin

P.s. If you're interested in more Art & Creativity, 

you might enjoy this Substack post.

"Five Laws of Art Making" 

E26 - Rayna Noel - All the creepy, from the attic (0401)

Rayna Noel

All images are courtesy of the artist

Rayna Noel

I am from Johnstown, PA. I am the Assistant Director of the Bottle Works Ethnic Arts Center in Johnstown since May 2024. I teach fiber arts, work on artistic programming, and secure funds through fundraising and grant writing.

I also run a small business called Fibra Obscura selling custom fiber art creations.

Rayna - I'm delighted to have you here today. Let's jump in-

What do you love about making art?

I love the feeling when inspiration hits and making ideas come to life. It gives me a sense of wonder and accomplishment.

How do you evaluate your work

Most of the time it takes me a while to like what I make. I do not sell anything that is not to my high standards which means tight stitches and no possibility of falling apart or degrading quickly.

Eye

Where is your studio, and what is your primary work area?

I have a home studio in my attic and I do most of my work sitting on the couch.

What clues or questions do you use to select an idea to invest time and resources?

I have been following a certain aesthetic. Currently I have been crocheting cryptids and needle felting anatomical body parts. I like the creepy things.

Creatures

About your work: what do you hope people notice the most?

I hope they notice the emotion that goes into it and the quality and care with which it is made.

"Everything is art to me.  How you decorate your house, how you prepare food, how you dress yourself, etc, it’s all art" - Rayna

What is your favorite guilty pleasure?

Romance movies/novels

Gil

How do you define success as a creative? How do you hold yourself accountable?

Success is having the time and energy to create and I usually have deadlines so those hold me accountable.

When do you discuss things with your inner critic?

Once I finish a piece discussing what I may change or tweak.

Who are your creative influences, and whose work are you admiring now?

There is a series of garments and dresses with red blood wound stains made with embroidery and embroidered beads I found while searching for a concept. I love the addition of the sparkle from the beads so my most recent pieces include bead embroidery. Audrey Montoya, a fiber artist, inspired me to make unconventional things.

Fly

How can people follow you and your work?

I am on Facebook and Instagram: 

facebook.com/fibraobscura 

instagram.com/Fibra_Obscura

What would you like people to know that I haven't asked?

Everything is art to me.  How you decorate your house, how you prepare food, how you dress yourself, etc, it’s all art. There are creative decisions made even in the day to day.  

Rayna - Thank you for taking the time to talk with us today. I can totally relate to working on the couch! We're rooting for you. Come back and let us know any updates: shows, events, new work, anytime! 

Minis

E27 - Kathy Cornwell - Elements of Design & Cookies Too 0325

 Kathy Cornwell

After the Rain. All images are courtesy of the artist

Kathy Cornwell is a printmaker and mixed media collage artist based in Northern Virginia.  An enthusiastic daily hiker and world traveler, Cornwell has a deep sensitivity for the beauty of nature (from the large and majestic to the small and overlooked). Her work blends tactile experience, memory, awe, and angst.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Kathy Cornwell

Kathy - it's great to have you here. Let's jump in!

What do you love about making art?

Art is one of the most powerful ways I know to get in touch with my deepest self and to affirm myself. There are times when I make a piece of art and afterward I look at it and wonder how I made it, and marvel that I created it. It's a great feeling! Other times, I struggle mightily while making a piece of art, and it's very satisfying to solve those problems (eventually!). Art builds my self confidence. 

Which mediums do you like working with the most? What are some of the more unusual ones you've used?

I wanted to be an artist ever since I was young, but it took decades to find the right medium (and the right mindset, if I'm being totally honest). For several years in my 20s, I learned to blow glass. I dabbled in quilting, rug hooking, embroidery, sewing, painting, and many other mediums, but it was a Goldilocks-like experience: nothing was "just right."

It wasn't until I tried monotype printmaking on a gel plate when I was 50 years old that I found a medium that was "just right." This medium is a wonderful fit for my nature: it is forgiving, fun, and flexible. It's easy on the body and can be done by pretty much anyone and just about anywhere. In fact, I recently taught my 90-something-year-old parents-in-law to gel print, and they are now enthusiastic printmakers!

Gelatin printmaking allows me to use all sorts of found materials. I love printing with plants and trash, especially discarded plastic wrap. I can also create my own stencils and masks to make my prints express my artistic voice even more explicitly.

I also have fallen more and more in love with working with cutting machines over the past few years. At first, my intention was to use the cutting machine for cutting stencils and masks for printmaking—and this is still a big part of it. But machine cutting has now become a big part of my collage practice.

Hello Helicopter

What do you love about that?

The things I love most about both gel printing and machine cutting are the element of delightful surprise and the notion of redemption. When I'm gel printing, I have a general idea of how a print layer will look based on experience, but because I work fast and intuitively, I leave room for surprise. Most of the time, I'm excited or intrigued by the results. And if it turns out to be a not-so-delightful surprise? I can always print another layer on top of it later and redeem it. In fact, some of my best prints came about in this way!

Machine cutting is all about delightful surprises for me. I find that cutting a monotype into a smaller, interesting shape is transformative. Even if the monotype is what I'd consider unattractive as a whole, a tiny shape made from it can be remarkably attractive. This is another way that prints are redeemed.

I should add that collage is another redemptive process: there are scraps of printed or painted paper that may not seem attractive on their own, but they may be perfect in a collage.

No Boys Upstairs

How do you evaluate your work?

I try to keep the elements of design in mind as I create my work, as much as I can. I think that these can provide guardrails to keep me from going off the road. I also check in with myself throughout the entire creation process: am I thinking too much about how the work will be received? Am I getting overindulgent and not considering them at all? I try to strike a balance.

Where is your studio, and what is your primary work area?

My studio is in an empty bedroom in my home, and to be honest, my work activities sometimes spill out into other areas of our home. Thankfully, my husband is very supportive and patient about that! In my studio, there is a standing desk that I use for printmaking, a 6-foot folding table that I use for collage work, framing, and other hands-on art tasks, a computer desk, and a large Cricut cutting machine on a wheeled stand. I have a tall stand full of bakery trays that can be used for drying smaller prints as well as for storing flat items, and I have a drying tray for prints that are a bit larger. I have bookshelves and boxes full of supplies, as well as a closet that is full of everything from shipping materials to frames. My studio is not the most tidy and photo-worthy space, but it works for me!

What clues or questions do you use to select an idea to invest time and resources?

This can be tricky! Artists need to explore paths and then change their minds, but you don't want to feel like a squirrel darting this way and that in the road, unable to make up your mind which way to go. I get excited by an idea and then I try it by making a few pieces. Usually this is enough to show me the challenges that are involved and the level of excitement that I have. If I'm still feeling excited as hell, I'll keep going! If the excitement is waning or it isn't meeting my expectations, I may shelve that idea for later.

"The most important measure of success is creating work ...and constantly improving. I hope that I'll continue making art and growing as an artist for the rest of my life!" - Kathy

About your work: what do you hope people notice the most?

I strive to make my work have graphic impact from a distance but fascinating detail up close. I hope that people will get lost in the layers and details of my work, seeing something new each time. For my collage work, I hope they feel a sense of joy when they discover a tiny shaped collage piece, like a kid finding an Easter egg.

What is your favorite guilty pleasure? ;-)

Eating cookies and candy in the studio. Every day.  

Friday Focus

How do you define success as a creative? How do you hold yourself accountable?

The most important measure of success is creating work (not just thinking about it or planning it) and constantly improving. I hope that I'll continue making art and growing as an artist for the rest of my life!

I hold myself accountable by setting goals yearly and monthly and then reviewing them at the end of each month. This shows me where I've been avoiding "scary" tasks or slacking off. I've worked with a coach for several years and having regular check ins with her has also helped me stay accountable.

When do you discuss things with your inner critic?

I notice that my inner critic speaks up a lot when I'm looking at the work of others, such as when I'm scrolling on Instagram. Feelings of admiration and envy can turn into inner critic whisperings about my own work or career prospects. When I'm looking at my own work, I find that my own thoughts (be they positive or critical) are completely unreliable in regard to how others feel. For example, I can fall in love with an artwork and the public response is crickets, while another piece that I don't feel so strongly about will turn out to be a fan favorite. As they say, we are terrible at reading the minds of others, so if my inner critic tries to tell me how my work stacks up or how it will be received, why should I bother listening to that?

What advice do you have about throwing away work?

I rarely throw any work away. The beauty of my art practice is that just about anything can be reused! I can cut up a monotype or collage and use it in a new collage, or print over it, or run it through the cutting machine and make collage fodder out of it. A collage on panel can be collaged over, or in the worst case scenario it could be sanded down and started over from scratch. My advice about throwing away work is the same as it is about throwing away trash: reuse and recycle as much as possible!

What advice can you share for artists who want to sell their work {online}?

I don't sell my work online. I'm only interested in selling my work through galleries and exhibitions, to be honest. This is because I'd like to put most of my effort into what I enjoy most: making the art. If I also undertake selling art online, there are a host of marketing and sales tasks that I'd have to do. That's not my zone of genius, but it is for galleries. I'm grateful to be working with a terrific gallery here in the Washington, DC, area called Broadway Gallery, and soon I hope to be represented at some other quality galleries.

What would you tell other artists when they get frustrated with a project?

Take a walk, take a shower, and sleep on it! Stepping away is often exactly what the doctor ordered. You'll return to your project with fresh eyes and new ideas.

Denim Dreams

Who are your creative influences, and whose work are you admiring now?

I've learned so much from Jane Davies and Julie Fei-Fan Balzer. They've had a huge impact on my art and development as an artist. Currently I'm admiring the work of Anne Marie Fischer and fiber artist Susan Lapham.

How can people follow you and your work?

I'd love your readers to connect with me on Instagram or Facebook @kathy.cornwell.art and to follow my journey by joining my newsletter at my website www.KathyCornwell.com

Kathy - Thanks so much for joining us/me today. I'm loving your work, and signed up for your newsletter! Come back and share any announcements with the CHC gang anytime!

Wet Walk

E24: Zoe Akihary - Inspired Wisdom

 

Zoe Akihary

 From a recent campaign called ‘Embody Confidence’ for Estrid, a razor brand. A campaign in which we fight against digital censorship when it comes to our bodies and embody pure confidence to dismantle outdated beauty norms and celebrate our unedited, unapologetic selves. [More below]
 All images are courtesy of the artist.

I’m from the Netherlands, I grew up close to Rotterdam. Moved to Amsterdam to study and work and recently moved to Berlin and am now based between Berlin and Rotterdam. I work as a freelance art director in the fashion- and advertising industry. I work quite all-round, so sometimes spend a lot of time researching trends or do visual research, sometimes I solely focus on creating concepts which is quite strategic and think-heavy and can also be really involved with the production side of things. So really fun! I also do some photography on the side, as a creative outlet for myself and not having to work according to client guidelines. At the moment, I am in a year long project for a really fun sports brand and get to travel and do all the stuff I like! 

Zoe Akihary, the creator

Around 5 years. I started as a blogger when I was around 11 years doing runway reviews and sharing inspiration, so I was always very much into this. Then I started studying and did some graphic design work on the side and photography for my parents brand they used to have. Then I interned at PVH (Tommy Hilfiger & Calvin Klein) and Converse, and realised I didn’t want to be client-side but do the actual work so I went agency side and have been doing it ever since, but only started freelancing this January!

Nothing specific, except for that whatever you do. Remember that it is okay to be a total beginner at first and nothing should ever prevent you from sharing your work and passions with the world, as long as you radiate positivity and show the first step in connecting (even if it is by email, because I am the biggest introvert!) it can bring you so much.

 

Zoe - Thank you for carving time out of your schedule to talk with us. I think this is the first time we're meeting.  Let's get to the questions: 

What do you love about making art?

I love seeing the world in a different way, everything brings me inspiration. When I wake up and see how the sun hits the walls, I think of a story. When I sit in a cafe and overhear a conversation and see cool people walking by with the best outfits. Reading books, playing games, walking around, chatting with friends everything can be a starting point for what you create next.

How do you evaluate your work?

I try to not overthink! I often think the first idea is best. There are usually also so many rounds of feedback from different clients, so if an idea popped up and it made me enthusiastic and sparked ideas I just start working on it. If an idea doesn’t come naturally and have to force it out and don’t feel strongly about it, I try to regroup with the team and have everyone give some input to know where I go next. Even if they are account managers, strategists or resource managers, everyone knows the project and can help.

"...I want people to feel like it makes them feel calm and serene and a little bit dreamy..." - Zoe

Where is your studio, and what is your primary work area?

I mostly work from home. Sometimes from a cafe, but I spend a lot of time in online meetings and need to focus. When I have days where I work purely on visuals, like photo selects, edits, mood boards etc I try to work from a different place. For my personal projects, I shoot a lot outside because I love natural light or in studio’s in Berlin and Amsterdam.

What clues or questions do you use to select an idea to invest time and resources?

I have two jobs (art director & photographer). I think as an art director my work is way more culturally relevant, younger target group and feels more fresh and new. As a photographer, I just love to create what is in my daydreams or my thoughts so the work is automatically a lot more dreamy and simple. Usually when I work on art direction project I ask myself ‘is this cringe?’ Which sounds kind of dumb, but in my opinion a lot of brands have very generic messaging that just looks silly like ‘be you to change the world’ or stuff like that. I want to avoid that, I think research into the audience you speak to is so important, knowing how to show up in their world in the most authentic way and find an overlap with the brand.

About your work: what do you hope people notice the most?

I hope my work makes people stop and think, that’s interesting and exciting. I want people to want to know more about the brand and product through my art direction. My photography work I want people to feel like it makes them feel calm and serene and a little bit dreamy, that work is my creative outlet which is shown in the way I experiment with film, super8 and collages and I want people to know it is okay to just experiment and have fun with visuals and simply have fun with it. 

Work for Nike Kids x Roblox to launch the first Air Max for kids in Nikeland, creating "Airtopia", a world by kids for kids.

What is your favorite guilty pleasure?

My guilty pleasure is listening to a true crime podcast while going on a iced matcha walk, I also love laying in bed and play animal crossing home and decorate homes or spend all night cooking a very extra dinner for my boyfriend with a glass of wine on a random Tuesday.

How do you define success as a creative? How do you hold yourself accountable?

I define my success as a creative when I am able to say no to jobs or brands that don’t match with my values and can sustain myself financially. I started freelancing this year and was really scared I had to work on brands (as the market is not doing well right now) that do not align with my values and find a random side job, but it ended up very well. I worked on a brand that felt very wrong in my previous full-time job that I couldn’t leave at that time and felt guilty everyday.

From: Weight of Dreams

Personal project called ‘Weight of Dreams’ with ballerina Daniela Thorne from Staatsballett Berlin. Shot on an old film camera and filmed it on Super8; film release pending

When do you discuss things with your inner critic?

Every day I journal, when I feel down or sad I write down what I feel sad about and basically keep writing until I see everything from a different perspective. When I get overwhelmed and have a lack of time to do the things I want I can be really hard on myself, but then I remind myself I don’t even want to do more but all I need is a day of rest.

Who are your creative influences, and whose work are you admiring now?

This changes a lot, because I try to surround myself with a lot of different types of inspiration. However, I always love Tyler Mitchell’s work and everything Thom Browne and Marc Jacobs.

How can people follow you and your work?

I have a newsletter on art direction called artdirection.substack.com, my work can be found on www.zoeakihary.com and will very soon have a portfolio update with a lot of new work and my photography can be found on @zoeakihary on instagram but soon on my website.

What would you like people to know that I haven't asked?

Don’t overwork yourself ever! It will weaken your ideas, creatives can’t always give output and give, give and give. They need time to recharge, even when they think they don’t. Also don’t get stuck in the algorithm and try to always find new ways of being fed with inspiration.

Zoe - Your passion for art direction is truly inspiring. I know our audience will be captivated by your story. And I especially love what you said about self-care. Please come back anytime you have something to share.

 

More from the Estrid campaign "Body Confidence"

E23 - Women's Art History: Anne Brigman - Transforming an Artist’s View {{Mar 4}}

Anne Brigman, 20th Century Photographer

Soul of the Blasted Pine [yalebooks.yale.edu ]

Anne Brigman (1869–1950) was ostensibly a well-known Photo-Secession working group member. Belonging to avant-garde circles had its advantages, but the typical coed composition of such groups came with new obstacles for women artists. Often finding themselves the single female member in a group, women artists faced the threat of being marginalized or overshadowed by the disregarding views of male members.  [Baring Themselves-...] . [THE SOFT-FOCUS LEN...]

Self-portrait, the artist; 

[https://www.wikiwand.com/en/articles/Anne_Brigman]

Where is the photographer from?

Anne Brigman was born Anne Nott in Hawaii to a family of British missionaries who moved to California when she was 16. In 1894, she married a captain of the merchant navy, Martin Brigman, whom she would often accompany on his journeys. [awarewomenartists.com]

When was the photographer making images?

Her most famous images were taken between 1900 and 1920, and depict nude women in primordial, naturalistic contexts. [wikiart.org]

Trained as a painter, she turned to photography in 1902.

 "In all of my years of work with the lens, I’ve dreamed of and loved to work with the human figure – to embody it in rocks and trees, to make it part of the elements, not apart from them." – Anne Brigman 

What were the cultural/historic events that influenced the photographer?

 After the San Francisco earthquake and inferno destroyed the old wooden city in 1906, locals often referred to the event by conjuring the figure of a raging, fire-breathing dragon, wreaking its havoc on the city of sin.  The apocalypse marked the end of the old romantic, picturesque city and sent a phalanx of artists and bohemians into a mass departure into Berkeley’s hills and Carmel’s secluded beaches.

She was influenced by and an active influencer of the Soft-Focus Lens and Anglo-American Pictorialism era. [THE SOFT-FOCUS LEN...] Brigman’s 1908 photograph, Soul of the Blasted Pine [fig. 2], exemplifies the photographer’s distinct aesthetic that was centered on depictions of the female nude in nature. In this photograph, a female figure rises from the remnants of a tree on a rugged outcrop in the mountainous California landscape. [Baring Themselves-...]

Bare in the Backwoods
[https://static01.nyt.com/images/2018/12/30/arts/30brigman-01/30brigman-01-videoSixteenByNine3000.jpg]

Her background in painting was particularly evident in her early work, where she employed extensive post-processing, editing her negatives using pencils, paints, and superimposition.

 

How would you describe the work of the photographer? 

A little story, bear with me: In the summer before the earthquake, she had posed her sister and friends as nymphs enjoying the cool, refreshing breezes and waters of mountain glades. After the quake, she tramped through the same wilderness; Brigman discovered it to be a place of mysterious caverns and sinister shape-shifting trees. [blog.yalebooks.com]

Photographs of the mountains no longer appeared simply as a place to find personal transformation in experiences of awe and renewal. Still, it was now also a place of encounter with sudden death—reverberating with the nightmare of destruction back home in the Bay. Thus, her work evolved from a pure pictorial style to more of a straight photography approach, although she never really abandoned her original vision. [wikiwand.com]

Why is this photographer important to the history of photography?

Bold and revolutionary, the practice of Anne Brigman challenged the norms of her time. Critically acclaimed pictorial photographer in 1900s America, but also a poet, critic, and mountaineer, she made nature her studio, photographing female nudes in California’s spectacular and still relatively remote Sierra Nevada Mountains. Anne Brigman's photography was primarily influenced by European Symbolism but also drew on pagan mythology, Romanticism, and her childhood exposure to the native beliefs of the Hawaiian people. Her work came into view in conjunction with the birth of bohemian-core culture famously attributed to 20th-century California.  [widewalls.ch]

More images: https://www.artsy.net/artist/anne-brigman

E22 - Lee Gaddies - Unique, Distinctive, and Experimental

Lee Gaddies

All images are courtesy of the artist

My name is Lee Gaddies and I was born in Detroit, Michigan.

I like to do any kind of creative work.
By training I am a graphic artist by temperament I am a designer. I like to create stuff whether it be game design, drawings, paintings, models, sculptures. As long as I have something to show for my work at the end of the process.

I did my first commercial piece in second grade. I was hired to do a drawing of Winnie the Pooh on a giant piece of parchment paper that came from a giant spool in my second grade class. I used to get in trouble as a kid for drawing on the walls in my bedroom so I guess I've been doing it as long as I've been able to hold a pencil.

~~~~~~~~~~~~~~~~~~~~~~~

Hey Lee - I'm so happy to have you here! Let's jump in-

What do you love about making art?

It's not necessarily a love of doing it, but I feel a compulsion to do it a drive sometimes. I like what I see at the end of the process. Sometimes I don't. I never really think about loving it or not loving it.

How do you evaluate your work?
I evaluate my work by whether or not I enjoy what I'm doing while I'm doing it. I've done a lot of pieces for clients where I'm not satisfied with it but they love it. So what what works for other people doesn't necessarily work for me. But as you know all art is subjective.

Where is your studio, and what is your primary work area?

My studio is currently a spare room in my home. For a long time when my children were living with me my studio was in my basement.

Isorian

"...one thing that has remained consistent is my hope for the future and being able to move people through ART whether it be writing, drawing or sculpture." - LG

What clues or questions do you use to select an idea to invest time and resources? 
As an artist or graphic designer, choosing the right idea is crucial. Here are some clues and questions that guide my selection:

Personal Connection and Passion
* Does it resonate with me personally? Is there a deep emotional connection or a strong belief behind the idea?
* Is it something I'm passionate  about? Passion fuels creativity and can sustain my interest throughout the project.

Relevance and Impact
* Is it relevant to current trends or cultural issues? This can help attract attention and make a meaningful impact. I did two graphic design pieces during the black lives matter demonstrations.
* Does it have the potential to evoke a strong emotional response or spark a conversation? Ideas that provoke thought or inspire action are more likely to be memorable to me and my clients.

Feasibility and Resources
* Is it technically feasible? Do I have the necessary skills and resources to execute the idea effectively?
* What is the budget of a client? Can you realistically afford the materials, equipment, or software needed to bring the idea to life?

Market Potential and Audience
* Is there a potential market or audience for your idea? Understanding your target audience will help one tailor their work to their preferences.
* Can you monetize the idea? Consider whether the project has commercial potential, such as selling prints, merchandise, or licensing the design.

Unique Selling Proposition (USP)
* What makes my idea unique or different from others? A strong USP will help your work stand out in a crowded market.
* Does it offer a new perspective or approach to a familiar subject? This brought me great success when I designed the Gaddis gaming table topper. Innovation and originality are key to capturing attention.

By carefully considering these factors, I can increase my chances of selecting an artistic idea that is both fulfilling and successful. Remember, the best ideas often come from a combination of personal passion, creative vision, and practical considerations. The Sweet spot is having all of these come together at once which isn't always possible.

About your work: what do you hope people notice the most? 

I often use my designs to tell stories or convey messages. I hope that viewers can connect with the narrative and find meaning in my work. I also aim for my designs to be unique and distinctive. I strive to push the boundaries of creativity and experiment with new techniques and ideas.

What is your favorite guilty pleasure?

Vernors and vanilla ice cream. It's called a Boston cooler.

How do you define success as a creative? How do you hold yourself accountable?
It all depends on what I want to achieve with my work. Am I aiming for commercial success, personal growth or recognition from the arts community?

By setting clear goals for myself, tracking progress, seeking feedback, reflecting and learning, and celebrating successes, as a  graphic artist I can stay motivated, accountable, and measure my progress towards a desired outcomes.

When do you discuss things with your inner critic?
Like most artists, I am my own worst critic. I know that there's work that I would have thrown in the garbage that I've actually sold for hundreds of dollars when somebody else is looked at it.

Who are your creative influences, and whose work are you admiring now?
Probably my early years. It was comic book artists like Jack Kirby, Sal Buscema and John Byrne along with Mobius were probably my biggest early influences that kept me drawing. Then I found concept artists like Sid Mead,Ralph McQuarrie became a whole world unto themselves in the '80s for me.

How can people follow you and your work? 
Through my website. Gaddis Gaming, the Gaddis Lee gallery blog that I try to keep up.

What would you like people to know that I haven't asked? 
As I move through the different phases of my creativity and I've transitioned from medium to medium. Some things stay consistent. Others are based on new technology and techniques that have emerged, but the one thing that has remained consistent is my hope for the future and being able to move people through ART whether it be writing, drawing or sculpture.

Thank you for carving out time to talk with me/us Lee. Now, I need to go and get myself a Boston Cooler! I can relate to that compulsion aspect of art making very much. Please feel invited to come back anytime, or share with us news from your corner of the world. 

E21 -- Black [Art] History Special Episode {{Feb 04}}

 Name - Guest Writer: Tia Nichols - pull to a new doc if Tia sends anything... 

Black ART History Month Feb 2025

screenshot from duckduckgo.com 

As a former solo/reference librarian, one of my strengths is in finding and highlighting the work of others. That is, knowing when not to reinvent the wheel. So, in honor of Black History Month in the US, here’s a list of resources, each devoted to Black Art in Detroit, MI.

Black artists from Detroit have played a pivotal role in shaping American culture and the global arts scene. Their contributions to music, art, and literature have profoundly impacted society. 

Here's why they're important to know about:

1. Cultural Influence:

Image from Detroit Public Library website
https://detroitpubliclibrary.org/ 

• Music: Detroit has been a hub for groundbreaking music genres like Motown, soul, funk, techno, and hip-hop. Artists like Aretha Franklin, Stevie Wonder, Marvin Gaye, and countless others have shaped the sound of American music and beyond.

• Art: Artists like Charles McGee, G.W. Haywood, and Harold Neal have created powerful and thought-provoking works that explore themes of race, identity, and social justice.

• Literature: Detroit has produced renowned writers like James Baldwin and Alice Walker, who have used their art to address issues of race, class, and gender inequality.

2. Social and Political Impact:

• Civil Rights Movement: Detroit has been a center of the Civil Rights Movement, and Black artists have used their work to challenge racial injustice and promote social change.

• Community Empowerment: Many Black artists in Detroit have used their art to empower their communities and inspire social change.

3. Economic Impact:

• Creative Industries: Detroit's creative industries, driven largely by Black artists, have contributed significantly to the city's economy.

• Cultural Tourism: Detroit's rich cultural heritage, including its music and art, attracts tourists from around the world.

In conclusion, Black artists from Detroit have made significant contributions to American culture and the global arts scene. Their work inspires and challenges us; their legacy will be felt for generations.

Creatives Having Coffee is pleased to present a few notable websites and articles focusing on black artists in Detroit, MI. 

Get your pot  o'coffee going -

Gotta start with the Royalty: https://www.motownrecords.com 

From Black Life Arts & Culture (BLAC Detroit): https://www.blac.media/arts-culture/10-amazing-black-detroit-artists/ 

These Museum Streets: https://www.thesemuseumstreets.com/post/black-artists-archive 

The ‘Gander [Michigan News You Can Use]: https://gandernewsroom.com/2024/02/13/motown-masterpieces-10-detroit-destinations-for-black-history-month-art/ 

Hyperallergic: Half a Century of Black Art in Detroit: https://hyperallergic.com/939245/half-a-century-of-black-art-in-detroit-gallery-7-mocad/ 

TMG Design and Media has a large portion of their website dedicated to uncovering and sharing Black Artists and Designers’ works https://www.tmgdesignandmedia.com/projectsanskofa 

WDBM 89 FM “The Black History of Our Favorite Music: How Detroit’s musical history and Black artists shaped modern music” https://impact89fm.org/109495/music/the-black-history-of-our-favorite-music-how-detroits-musical-history-and-black-artists-shaped-modern-music 

From a big-heart neighborhood in Motown, Wayne State University Libraries: https://guides.lib.wayne.edu/Music/DetroitMusic 

Want to orient yourself a little more with some of the heavy-lifting contributions of black artists:

A little Wikipedia orienting: https://en.wikipedia.org/wiki/African-American_art 

The Pensacola Macaroni Kid has a great introduction to Black Artists: https://pensacola.macaronikid.com/articles/65bce83db746af40cad1f0fe/the-soulful-rhythms-of-black-history--a-journey-through-black-music 

Print Mag features: https://www.printmag.com/featured-design-history/13-african-american-graphic-designers-you-should-know/ 

From the Stanford University Librarians: https://guides.library.stanford.edu/c.php?g=1163998 

We hope this list has inspired you and filled some historical gaps. Thank you for your continued support. Next time, we'll be back to our regular interview format.