Barbara Jones-Hogu in her studio, circa 1968. | Photographer unknown, Courtesy Lusenhop Fine Art
Barbara Jones-Hogu (1938-2017) was an agent of social change in her art, printmaking, filmmaking, and presence. She studied art at Howard University, The Art Institute of Chicago, and the Illinois Institute of Technology. In addition, her work is featured in several museum collections including the Brooklyn Museum and the National Civil Rights Museum.
"Nation Time" (I) (1967) | Barbara Jones-Hogu, Brooklyn Muse
Following her studies at Art School, Jones-Hogu was apart of the OBAC (Organization of Black American Culture), a collective of writers, artists and activists based in Chicago Illinois. She gained respect as a major catalyst to the Black Power Movement during this time period.
OBAC's seminal work was the Wall of Respect (1967), a 20x60ft mural divided into 50 portraits of influential Black statesman, athletes, musicians, and writers on Chicago's South Side (it included the likeness of Malcom X, Aretha Franklin, Gwendolyn Brooks, and Miles Davis).
Installation view of the mural, Soul of a Nation: Art in the Age of Black Power (2017) | Rachel Lewis
The Wall became a gathering place and tourist hotspot, and was continually added/worked as a symbol of Black Liberation and Nationalism. It also spurred similar murals across the country. However, it was subject to immense backlash too, as many claims of undercover cops and FBI investigations were seen monitoring the area. In 1971, a 'mysterious' fire to the building that the mural was on destroyed it. But its legacy remains.
In 1967, Jones-Hogu became the co-founder of AfriCOBRA, (the African Commune of Black Relevant Artists), in the wake of the Detroit Uprising*. AfriCOBRA was tasked with generating positive and continuous conscious-raising imagery to specifically appeal to the Black community and the overall lack of representation of Black life. An emphasis on self-determination, unity and Black pride was embraced within filled (edge-to-edge) spaces that utilized vivid colors and strong patterns alongside human forms.
A short video on AfriCOBRA and it's Significance | Courtesy TV LAND
The paintings and prints were meant to feel continuous with the cultural expression that permeates everyday life, so that the art works wouldn't be relegated to a rarefied realm barred to common folks
The message of Black Empowerment was in large part presented in such a palpable, meaningful way due to Jones-Hogu's style contributions to AfriCOBRA; the incorporation of bold words and images made it perfectly clear to what it was trying to communicate. This is exemplified in 'UNITE' , where the call was to come together as
BLACK LIVES MATTER.
Unite (The First State)| Barbara Jones-Hogu, Screenprint, (1969)
Further Resources:
This was a really interesting interview with Barbara Jones-Hogu that goes in-depth on her design techniques for printmaking, thoughtful rationale on politically charged, black-positive visuals as well as her Japanese influence of materials and approach. Highly suggest to read, and a lot more of her work is included here that I wasn't able to include in this short piece.
An extension of what I think Barbara Jones-Hogu would support regarding sending strong, clear, messages and commentary on what qualifies as design in the movement today. A perspective that really resonated with me.
*The historical environmental backdrop that led to the formation of AfriCOBRA (The Detroit Uprising of 1967) to provide situational context to the atmosphere of the community at that time (Significant parallels to today, shouldn't be unacknowledged)
References:
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