Viewing page 10 of 34


He terms the use of figures in a piece as 'links to a bridge'.

-Donaldson points out a central photo in the work as the starting point. He continues about how the piece must be sealded [[sealed]] to preserve it. 

-Critique of Adger Cowans photostat of a piece-

-Cowans-Request input on the image he is presenting. It was pictured in a dream. 

-Donaldson notices areas of solid and relief areas. Cowans does alot [[a lot]] of painting on black he feels it is the sum of all color and uses color on black.

-Phillips-I get the feeling of an ahnk [[ankh]] and embellishment. Or a Shango figure. 

-The picture has the proportions of pygmies, who in the African tradition where the first people, hence deriving the proportions of a large head area and small body. 

-Much discussion followed this concept.

-Critique of Nelson Stevens work-

-Donaldson- You seem to be getting involved with deep space.

-Auld is reminded of medical illustrations.

-Donaldson sees this but claims the piece doesn't rely on it. He inquires about the pelvis bone in recent work. 

-Stevens explains that we were the oldest bone on earth. He,trying to find an African American symbol went to a universal symbol of rebirth. 

-Cowans likens the color of the bone to daylight.

-Two of Stevens other paintings are put up, discussion follows-

-Donaldson suggest the association of the bone with the macabre, mutilation, amputees, and death

-Stevens feels the bone reads different things depending on the conetext [[context]] it's presented in. The color distribution, and distribution of static and moving forms comprises this difference. 

-Henderson identifies the difference between isolation and incorporation of the pelvic bone as elements making the composition work. 

-Steven- I am trying to get a feeling of glass, plastic shapes molded out of plastic sheets, a translucency. 

-Criticism arises out of the pedestrian pose of the top figure.

-Donaldson-How are you relating this to Koolaid color? He brings up the example of
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact