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Leslie King-Hammond

Artist, historian, educational administrator and curator Leslie Ann King-Hammond was born on August 4, 1944 to Evelyne Alice Maxwell King and Oliver King. King-Hammond is of Caribbean ancestry and grew up in South Jamaica and Hollis, Queens, New York. She attended New York City Public Schools and won a full stipend-tuition scholarship by the SEEK Grant at the City University of New York, Queens College. King-Hammond accepted the scholarship, attended Queens College and graduated in 1969, earning her B.F.A. degree. She went on to earn her M.A. and Ph.D. degrees from John Hopkins University in 1973 and 1975 respectively.

King-Hammond officially started her career after finishing her undergraduate education in 1969 serving as Chairman of the Art Department for the Performing Arts Workshops of Queens, New York. She remained in this position until 1971, when she became program writer for Harlem Youth Opportunities Unlimited (HARYOU) in Harlem, New York. HARYOU-ACT, Inc. worked to increase opportunities in education and employment for young blacks in Harlem. In 1973, King-Hammond began lecturing at the Maryland Institute College of Art. By 1976, she was promoted to Dean of Graduate Studies at the Maryland Institute College of Art, a position she still holds. Between 1977 and 1981, King-Hammond served as Doctoral Supervisor for Howard University’s Department of African Studies. Between 1980 and 1982, she served as a panelist for the National Endowment for the Arts. Between 1983 and 1987, King-Hammond worked as Commissioner for the Civic Design Commission in Baltimore, Maryland. Between 1990 and 1996, she served as art consultant for the Afro-American Historical & Cultural Museum. Between 1985 and 1998, King-Hammond served as Project Director of the Phillip Morris Scholarships for Artists of Color. From 2000 to the present, she has served on the Board of Directors of the International House of Art Critics.

King-Hammond has been honored and awarded several times over during her career including the Kress Fellowship, 1974-1945; Mellon Grant for Faculty Research at the Maryland Institute College of Art, 1984; the Trustee Award for Excellence in Teaching, 1986; and the National Endowment for the Arts Award, 2001.

In 2007, King-Hammond was elected Chairman of the Board of Directors of the Reginald F. Lewis Museum of Maryland African American History and Culture.

King-Hammond was interviewed by The HistoryMakers on April 26, 2007.

Accession Number

A2007.164

Sex

Female

Interview Date

4/26/2007

Last Name

King-Hammond

Maker Category
Organizations
Schools

P.S. 104, The Bays Water School

P.S. 142, Shimer Junior High School

Andrew Jackson High School

State University of New York at Buffalo

The New School for Social Research

Queens College, City University of New York

Johns Hopkins University

Search Occupation Category
First Name

Leslie

Birth City, State, Country

New York

HM ID

KIN11

Favorite Season

Spring

Sponsor

Jonathan Green Studios, Inc

State

New York

Favorite Vacation Destination

Anywhere

Favorite Quote

I'm Blessed To Be Vertical.

Bio Photo
Speakers Bureau Region State

Maryland

Birth Date

8/4/1944

Birth Place Term
Speakers Bureau Region City

Baltimore

Country

United States

Favorite Food

Ice Cream, Nuts, Fruit

Short Description

Installation artist, academic administrator, art history professor, and curator Leslie King-Hammond (1944 - ) was elected Chairman of the Board of Directors of the Reginald F. Lewis Museum of Maryland African American History and Culture.

Employment

General Electric

Maryland Institute College of Art

Main Sponsor
Favorite Color

Burgundy Reds

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Leslie King-Hammond's interview

Tape: 1 Story: 2 - Leslie King-Hammond lists her favorites

Tape: 1 Story: 3 - Leslie King-Hammond describes her mother's family background, pt. 1

Tape: 1 Story: 4 - Leslie King-Hammond describes her mother's family background, pt. 2

Tape: 1 Story: 5 - Leslie King-Hammond remembers her trip to Barbados

Tape: 1 Story: 6 - Leslie King-Hammond talks about her mother's childhood in Barbados

Tape: 1 Story: 7 - Leslie King-Hammond describes her mother's education and career

Tape: 1 Story: 8 - Leslie King-Hammond talks about the Jamaica neighborhood in Queens, New York

Tape: 1 Story: 9 - Leslie King-Hammond describes her father's family background

Tape: 2 Story: 1 - Leslie King-Hammond describes her father's involvement with the Universal Negro Improvement Association

Tape: 2 Story: 2 - Leslie King-Hammond recalls her father's occupation

Tape: 2 Story: 3 - Leslie King-Hammond describes her parents' personalities

Tape: 2 Story: 4 - Leslie King-Hammond describes her earliest childhood memory

Tape: 2 Story: 5 - Leslie King-Hammond talks about her siblings

Tape: 2 Story: 6 - Leslie King-Hammond describes the sights, sounds and smells of her childhood

Tape: 2 Story: 7 - Leslie King-Hammond describes her early experiences of racial discrimination

Tape: 2 Story: 8 - Leslie King-Hammond remembers seeing a poster of Emmett Till

Tape: 2 Story: 9 - Leslie King-Hammond describes her early education

Tape: 2 Story: 10 - Leslie King-Hammond recalls her early interest in art

Tape: 3 Story: 1 - Leslie King-Hammond remembers her family's response to her art

Tape: 3 Story: 2 - Leslie King-Hammond recalls the early inspiration for her artwork

Tape: 3 Story: 3 - Leslie King-Hammond recalls her lessons at the Brooklyn Museum Art School in New York City

Tape: 3 Story: 4 - Leslie King-Hammond recalls her piano lessons

Tape: 3 Story: 5 - Leslie King-Hammond describes one of her early self-portraits

Tape: 3 Story: 6 - Leslie King-Hammond recalls volunteering at the American Museum of Natural History in New York City

Tape: 3 Story: 7 - Leslie King-Hammond describes her extracurricular activities in high school

Tape: 3 Story: 8 - Leslie King-Hammond remembers her early feminist outlook

Tape: 3 Story: 9 - Leslie King-Hammond remembers leaving the church, pt. 1

Tape: 3 Story: 10 - Leslie King-Hammond remembers leaving the church, pt. 2

Tape: 4 Story: 1 - Leslie King-Hammond recalls her experience at the State University of New York at Buffalo

Tape: 4 Story: 2 - Leslie King-Hammond remembers working for General Electric

Tape: 4 Story: 3 - Leslie King-Hammond remembers teaching art at a community program

Tape: 4 Story: 4 - Leslie King-Hammond recalls receiving a full scholarship to Queens College in Queens, New York

Tape: 4 Story: 5 - Leslie King-Hammond describes her clothing design business

Tape: 4 Story: 6 - Leslie King-Hammond recalls the Civil Rights Movement

Tape: 4 Story: 7 - Leslie King-Hammond describes her opposition to the Vietnam War

Tape: 4 Story: 8 - Leslie King-Hammond remembers the March on Washington

Tape: 4 Story: 9 - Leslie King-Hammond recalls her admission to Johns Hopkins University in Baltimore, Maryland

Tape: 5 Story: 1 - Leslie King-Hammond recalls her studies at Queens College in Queens, New York

Tape: 5 Story: 2 - Leslie King-Hammond remembers the assassination of Malcolm X

Tape: 5 Story: 3 - Leslie King-Hammond recalls the assassination of Reverend Martin Luther King, Jr.

Tape: 5 Story: 4 - Leslie King-Hammond recalls how activism informed her artwork, pt. 1

Tape: 5 Story: 5 - Leslie King-Hammond recalls how activism informed her artwork, pt. 2

Tape: 5 Story: 6 - Leslie King-Hammond talks about activist art groups

Tape: 5 Story: 7 - Leslie King-Hammond talks about the National Conference of Artists

Tape: 5 Story: 8 - Leslie King-Hammond recalls the founders of the National Conference of Artists

Tape: 5 Story: 9 - Leslie King-Hammond remembers her Search for Education, Elevation and Knowledge fellowship

Tape: 6 Story: 1 - Leslie King-Hammond recalls her graduation from Queens College in Queens, New York

Tape: 6 Story: 2 - Leslie King-Hammond recalls her Horizon Fellowship to John Hopkins University in Baltimore, Maryland

Tape: 6 Story: 3 - Leslie King-Hammond describes her political activism at John Hopkins University

Tape: 6 Story: 4 - Leslie King-Hammond recalls discrimination at Johns Hopkins University, pt. 1

Tape: 6 Story: 5 - Leslie King-Hammond recalls discrimination at Johns Hopkins University, pt. 2

Tape: 6 Story: 6 - Leslie King-Hammond recalls the challenges she faced to obtain a Ph.D. degree

Tape: 6 Story: 7 - Leslie King-Hammond talks about her dissertation, pt. 1

Tape: 6 Story: 8 - Leslie King-Hammond talks about her dissertation, pt. 2

Tape: 6 Story: 9 - Leslie King-Hammond recalls experiencing sexual harassment at Johns Hopkins University

Tape: 7 Story: 1 - Leslie King-Hammond recalls obtaining her position at Maryland Institute College of Art in Baltimore

Tape: 7 Story: 2 - Leslie King-Hammond describes her deanship at Maryland Institute College of Art

Tape: 7 Story: 3 - Leslie King-Hammond describes her fellowship program for artists of color

Tape: 7 Story: 4 - Leslie King-Hammond talks about discrimination in the art field, pt. 1

Tape: 7 Story: 5 - Leslie King-Hammond talks about discrimination in the art field, pt. 2

Tape: 7 Story: 6 - Leslie King-Hammond describes her writing process for her publications

Tape: 7 Story: 7 - Leslie King-Hammond talks about the representation of black artists in education

Tape: 7 Story: 8 - Leslie King-Hammond recalls curating 'Black Printmakers and the WPA'

Tape: 7 Story: 9 - Leslie King-Hammond recalls curating 'Art as a Verb'

Tape: 7 Story: 10 - Leslie King-Hammond remembers her search for a white rooster, pt. 1

Tape: 8 Story: 1 - Leslie King-Hammond remembers her search for a white rooster, pt. 2

Tape: 8 Story: 2 - Leslie King-Hammond reflects upon her personal life

Tape: 8 Story: 3 - Leslie King-Hammond remembers her exhibit, 'Three Generations of African American Women Sculptors'

Tape: 8 Story: 4 - Leslie King-Hammond recalls her research for 'Three Generations of African American Women Sculptors'

Tape: 8 Story: 5 - Leslie King-Hammond describes the challenges faced by female artists

Tape: 8 Story: 6 - Leslie King-Hammond recalls her installation, 'Barbadian Spirits'

Tape: 8 Story: 7 - Leslie King-Hammond describes the development of her artwork

Tape: 8 Story: 8 - Leslie King-Hammond talks about Seneca Village in New York City

Tape: 8 Story: 9 - Leslie King-Hammond reflects upon New York City's slave history

Tape: 9 Story: 1 - Leslie King-Hammond recalls her collaboration with Jose J. Mapily, pt. 1

Tape: 9 Story: 2 - Leslie King-Hammond recalls her collaboration with Jose J. Mapily, pt. 2

Tape: 9 Story: 3 - Leslie King-Hammond describes her research on Seneca Village in New York City

Tape: 9 Story: 4 - Leslie King-Hammond recalls her exhibit, 'Agents of Change: Women, Art and Intellect'

Tape: 9 Story: 5 - Leslie King-Hammond talks about her home in Baltimore, Maryland

Tape: 9 Story: 6 - Leslie King-Hammond describes her hopes and concerns for the African American community

Tape: 9 Story: 7 - Leslie King-Hammond reflects upon her life

Tape: 9 Story: 8 - Leslie King-Hammond reflects upon her legacy

Tape: 9 Story: 9 - Leslie King-Hammond talks about her sons, pt. 1

Tape: 9 Story: 10 - Leslie King-Hammond talks about her sons, pt. 2

Tape: 9 Story: 11 - Leslie King-Hammond describes how she would like to be remembered

DASession

1$1

DATape

2$6

DAStory

10$4

DATitle
Leslie King-Hammond recalls her early interest in art
Leslie King-Hammond recalls discrimination at Johns Hopkins University, pt. 1
Transcript
When did you discover your artistic talent?$$Oh, I, I knew early on that I was, I had a predisposition for art, that I, that I loved to make things. That I just was impassioned with art. I was also extremely curious which I think made my mother [Evelyne Maxwell King] uncomfortable about the whole idea of how does an artist become an artist. Because I was also impassioned with the fact that my childhood was not normal because periodically I would have to have eyes made for me. And, so, when I was growing up, I had to go to a glass blowers which was a very old world tradition. Now they make them out of synthetics and plastics and whatever. But, at the time, I would have to sit with this, this master who would literally blow these glass bubbles. And, I can remember vividly being so mesmerized by the process of how he would craft from this bubble of molten glass, this incredible delicate eye that I would have to wear. You know, I didn't really care that I was wearing an artificial eye. I just wanted to go and watch him make eyes, okay. I was just curious. And, so, I would ask my mother questions like, "How did he learn to do that?" Or, "Are people with handicaps and challenges more predisposed to have these artistic talents?" And, since she was in medicine, it was kind of disconcerting for her, her to have to answer these kinds of questions 'cause she hadn't thought about it in that way because she was being the overprotective mother. But, as I began to increasingly read, because she would get nursing journals and medical journals just to keep up with the field, so I would read them. And, I would find the articles and variably about research that was done on people with different kinds of challenges and how, what happens with the body when one area is compromised the other area, another area will compensate. Well, that's that left brain, right brain thing. And, so what happens is, is that, you know, the left brain which organizes and keeps everything structurally in place, you understand, when it gets damaged or that sector of the body get damaged it responds to the left brain. This right brain thing kicks in and you have this enormous capacity that begins to compensate for the loss that's on the left side. And, I began to understand it more when I finally went to college [Queens College, Queens, New York] and I had a professor, a painting professor, who explained to me exactly what was happening. Because at one point I went to him because I was taking color theory class and he was making us go through various exercises of color compass- comparisons and intensities. And, I went to him, not knowing, because it had not been explained to me, and I said to him, "I have singular vision and I'm not sure that I'm gonna be able to respond to these problems." And, he looked at me, he says, "I know." And, I said, "How do you know?" He said, "Because you're the only one in the class who can really see what I'm teaching." He said, "Because you have singular vision," he said, "your depth perception cannot be based on a black to white to grey scale." He says, "You have to use color." He says, "You've been using color for so long to measure distances." That means, how to step up on a high plane. How to navigate through shadows. He said, he says, "You're so ultra-sensitive to color," he says, "every problem you do," he say, "you can't fail because you've already mastered it unconsciously." He said, "This is the first time, you've probably been able to talk about it with somebody who understands the dynamics of it." After that, it was like, bam (claps hands), somebody finally told me, broke the key, the magic box was open, I went "Yes, okay, (makes noise)." And, after I got that piece of information I could, you know, I was, I was cool. I was just cool.$So I had to walk into the department chair's office and ask her point blank, "Why is it that I was not informed of my status when I was really moved into a position to take this exam without proper preparation?" And, that I knew that in twenty-four hours, they knew who passed the exams. And, she told me that, "Well, Leslie [HistoryMaker Leslie King-Hammond] the committee's decided that, yes, you passed," and she said under her breath, "You passed very well." She wouldn't look me in the eyes. She just said, "You passed very well." And, I'm just sitting there looking at her, and I said, "And?" She said, "But, it's the decision of the committee that you're extremely talented and you can do whatever you wanna do and you don't really need a doctorate to go any further." And, I said, "Oh, really." I said, "And, how did you come up with that?" "Well, we really don't have any more money in your fellowship package and, you know, if you can come up with the money we might entertain you coming back in the fall." I said, "Might entertain?" I said, "I'm not making any sense of this at all." She says, "Well, I'm just doing this, you know, as a maternal thing for your, for your own good." So, that's when it just hit me and I just sort of went politely ballistic and I said, this is Dr. Phoebe Stanton [Phoebe Baroody Stanton], I said, "Dr. Stanton, please be advised that I have a very good black mother [Evelyne Maxwell King] in New York [New York], who really talks very much like you and wants me to leave here because this has not been a kind or friendly place to study. However, I do believe that I had to sign a letter of contractual agreement and return it to your office, to this office at Johns Hopkins [Johns Hopkins University, Baltimore, Maryland], indicating that I accept the terms of this fellowship. So, as far as I'm concerned, it's on me whether and when I terminate this relationship." Well, she was absolutely undone. She was livid. And, I said, "I have no doubt that you will be hearing from me again. Because I will be back in the fall. And, I will seek to resolve this." And, I walked up out of the office. I walked straight across campus to the president's office, and I walked in and I said to his executive assistant, and he had just been hired. This new African American administrator who was gonna oversee Hopkins Hospital [The Johns Hopkins Hospital, Baltimore, Maryland] and Hopkins' Homewood Campus, I said, "My name is Leslie King. I have just been thrown out of the art history department after passing my doctoral exams, with flying colors, and I am told that I am too talented and that I don't need this degree. I wanna see the president now."

Johnny Coleman

Installation artist, sculptor, and college professor Johnny Coleman was born in Saugus, Massachusetts on January 17, 1958. The son of Florence McCoy and John H. Coleman, he graduated from Redlands High School in Redlands, California and later earned his B.F.A. degree from the Otis Art Institute of the Parson’s School of Design and his M.F.A. degree from the University of California, San Diego.

Coleman is a tenured faculty member at Oberlin College where he teaches studio art and African American studies. His work has been exhibited in numerous galleries and museums, including Cleveland’s Museum of Contemporary Art, the David Zapf Gallery in San Diego, the Akron (Ohio) Museum of Art, and the William King Art Center in Abington, Virginia. His published works include “Landscapes of the Mind: Psychic Space and Narrative Specificity” in Space, Site, Intervention: Situating Installation Art from the University of Minnesota Press.

Coleman has received many awards and honors, including grants from the Ohio Arts Council, the National Endowment for the Arts, ART MATTERS, and the Russell Foundation. In 1997, he was named Outstanding Alumnus of the Year by the Otis Institute of Art and Design. In 2003, he received the Cleveland Arts Prize for Visual Arts.

Coleman lives in Oberlin, Ohio and is married to Annette Macios. They have two children.

Accession Number

A2005.010

Sex

Male

Interview Date

1/12/2005

Last Name

Coleman

Maker Category
Marital Status

Married

Organizations
Schools

Redlands High School

University of California, San Diego

University of California-Santa Barbara

Otis College of Art and Design

Franklin Elementary School

Search Occupation Category
First Name

Johnny

Birth City, State, Country

Saugus

HM ID

COL06

Favorite Season

Summer

State

Massachusetts

Favorite Vacation Destination

Oceans

Favorite Quote

Son, Experience Is An Excellent Teacher But A Lousy Surgeon. It Leaves Too Many Scars.

Bio Photo
Speakers Bureau Region State

Ohio

Birth Date

1/17/1958

Birth Place Term
Speakers Bureau Region City

Cleveland

Country

United States

Favorite Food

Soul Food, Mexican

Short Description

Installation artist and art professor Johnny Coleman (1958 - ) teaches art and African American studies at Oberlin College. His work has been exhibited in numerous galleries and museums, including Cleveland's Museum of Contemporary Art, the David Zapf Gallery in San Diego, the Akron (Ohio) Museum of Art, and the William King Art Center in Abington, Virginia.

Employment

Self-employed

Oberlin College

Favorite Color

Red

Timing Pairs
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DAStories

Tape: 1 Story: 1 - Slating of Johnny Coleman's interview

Tape: 1 Story: 2 - Johnny Coleman lists his favorites

Tape: 1 Story: 3 - Johnny Coleman talks about his immediate family and their move from Massachusetts to California when he was an infant

Tape: 1 Story: 4 - Johnny Coleman talks about his grandparents

Tape: 1 Story: 5 - Johnny Coleman talks about his parent's siblings

Tape: 1 Story: 6 - Johnny Coleman shares early memories of his childhood in Redlands, California

Tape: 1 Story: 7 - Johnny Coleman recalls his early school days

Tape: 1 Story: 8 - Johnny Coleman describes his exposure to art as a young child

Tape: 1 Story: 9 - Johnny Coleman recalls the music in his childhood home and neighborhood

Tape: 2 Story: 1 - Johnny Coleman describes the smells of his childhood in Redlands, California

Tape: 2 Story: 2 - Johnny Coleman remembers the smells of foods his mother cooked

Tape: 2 Story: 3 - Johnny Coleman talks about organizations his family participated in

Tape: 2 Story: 4 - Johnny Coleman remembers his time at Redlands High School in Redlands, California and his disinterest in school

Tape: 2 Story: 5 - Johnny Coleman describes the house and neighborhood he grew up in

Tape: 2 Story: 6 - Johnny Coleman recalls working at Redlands Community Hospital in Redlands, California and taking community college courses

Tape: 2 Story: 7 - Johnny Coleman talks about his career with Thrifty Drug Store

Tape: 2 Story: 8 - Johnny Coleman recalls influential courses and professors from his time at University of California at Santa Barbara in Santa Barbara, California

Tape: 2 Story: 9 - Johnny Coleman remembers learning about black artists

Tape: 3 Story: 1 - Johnny Coleman describes HistoryMaker Samella Lewis' encapsulation of black aesthetics

Tape: 3 Story: 2 - Johnny Coleman talks about the roots of the black aesthetic in the Harlem Renaissance

Tape: 3 Story: 3 - Johnny Coleman talks about sculptor Augusta Savage

Tape: 3 Story: 4 - Johnny Coleman comments on the relationship between black artists, white patronage and the term "black art"

Tape: 3 Story: 5 - Johnny Coleman recalls the impact of the Black Arts Movement in his youth

Tape: 3 Story: 6 - Johnny Coleman talks about HistoryMaker Dick Gregory and other black cultural leaders

Tape: 3 Story: 7 - Johnny Coleman describes finding his artistic voice

Tape: 3 Story: 8 - Johnny Coleman remembers his experiences at Otis Art Institute of Parsons School of Design and the University of California, San Diego

Tape: 4 Story: 1 - Johnny Coleman remembers early recognition for his artwork while earning his M.F.A. degree from University of California, San Diego

Tape: 4 Story: 2 - Johnny Coleman describes his use of Toni Morrison's 'Beloved' in his installation piece, 'Rememory: a Response to "Beloved"'

Tape: 4 Story: 3 - Johnny Coleman explains how materials from his installation piece, 'Rememory: a Response to "Beloved"' were to be reused after the show's closing

Tape: 4 Story: 4 - Johnny Coleman describes works he made for Toni Morrison

Tape: 4 Story: 5 - Johnny Coleman describes his trilogy of installation pieces inspired by Toni Morrison's 'Beloved'

Tape: 4 Story: 6 - Johnny Coleman describes the use of sound in his installations and his goal of creating ritual space

Tape: 4 Story: 7 - Johnny Coleman describes an installation telling the story of his brother being slapped by a white teacher

Tape: 4 Story: 8 - Johnny Coleman talks about his Maroon ancestry

Tape: 5 Story: 1 - Johnny Coleman describes an ancestor's escape from slavery and an installation piece created from the story

Tape: 5 Story: 2 - Johnny Coleman talks about his past and future installation work and exhibitions

Tape: 5 Story: 3 - Johnny Coleman talks about his teaching career at Oberlin College in Oberlin, Ohio

Tape: 5 Story: 4 - Johnny Coleman describes his studio class, Something from Something, and his seminar, Blues Aesthetic, at Oberlin College in Oberlin, Ohio

Tape: 5 Story: 5 - Johnny Coleman talks about his wife and children

Tape: 5 Story: 6 - Johnny Coleman shares his future plans

Tape: 5 Story: 7 - Johnny Coleman talks about his indirect route to becoming an artist

Tape: 5 Story: 8 - Johnny Coleman reflects upon his legacy

Tape: 5 Story: 9 - Johnny Coleman reflects upon his hopes for his children's futures

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Johnny Coleman talks about the roots of the black aesthetic in the Harlem Renaissance
Johnny Coleman explains how materials from his installation piece, 'Rememory: a Response to "Beloved"' were to be reused after the show's closing
Transcript
Can you sort of walk us through the 20th century survey of African American art history. Was, I'd just like to have a better understanding of the roots of that kind of black aesthetic rhetoric, if we can call it that safely--$$Um-hm.$$--without, you know, denigrating it--$$Um-hm, um-hm.$$--at all but just to say the things that are being said in the 1980s, you know, they, they have earlier precedence.$$Oh, they sure do. I mean the things are being said (simultaneous)--$$(Simultaneous) So where would you trace it to?$$I would trace it primarily back to, to the [Harlem] Renaissance and to Langston Hughes, you know, at one of, one of our native sons having come in high school from here at Central [High School, Cleveland, Ohio]. And Langston in terms of his love of black culture and vernacular speech and music, music, blues and jazz, and how black folks live and interact and wanting to reflect that on a personal level and on a cultural level, not so much as didactic, though he did write, you know, the, 'The Negro Artist and the Racial Mountain' where he's talking specifically about, you know, who you're talking to and what are your reference and, and are you willing to, to identify yourself as, as a Negro artist in, in the lexicon of the day or black artist or do you simply want to be an artist. And he, he put a, a kind of binary in, in this kind of relationship as being an artist which he said he, he viewed as, I just wanna be an artist in an American sense, read: white. And he said that in opposition to an artist who had a strong relationship to community, to culture, to the language of black culture, to images, to history, to the way in which we are who we are not that's its monolithic but the range. And I would say that black aesthetic rests profoundly on his shoulders and some of the ideas that he was articulating along with others, Alain Locke, there in a big way. The Renaissance, you know, was a kind of a seedbed, it wasn't only located in Harlem [New York, New York] it was also happening in Chicago [Illinois], it was also happening in L.A. [Los Angeles, California], I'm talking about just creative expression within black folks. But as a, as an overall movement, it was certainly centered in Harlem and it was so rich and dense there across all the arts, all of 'em. But I think that in the '30s [1930s] is where this aesthetic really--$What happens to all that when the show closes?$$Well it's (simultaneous)--$$(Simultaneous) You said you can't sell an installation?$$No, the, you know, I've been lucky with one, a very small piece was, was purchased out in California. But you can't sell an installation but they were never intended, they, that's a prayer for my daughter, it's a trilogy of prayers, each ones very, very specific and different. So what's gonna happen with it is I have it documented, I have the prayer that I'm speaking to her, physically speaking to her is both written and documented and recorded. She'll have all of that. She has all of, she'll have the locks from inside the boat, she'll have that little shoe form and she has all of the, now she's only five now but she'll have all of the necklaces, she'll have all my notes, the sketches, and that'll go into a book for her. And I've done several pieces for my son, all prayers that went into a book for him. And, you know, with the pieces that are yet to come, each one of 'em, '[A] Song for Ayo' is for Ayo [Coleman]. I don't know what Nyima [Coleman]'s book is titled but--$$Your daughter?$$My daughter.$$Okay.$$Those, that's what'll happen with those, you know. So for me they were prayers and for me the prayers function. And as far as materials, the boat is in a crate, the corn went to Habitat for Humanity, it went to, it was sewed into, into a, oh, gosh, I'm blanking on the term but it's, it'll help in fertilizing some soil. All the straw, there were a 140 some odd bales of straw there, all of that went to Habitat for Humanity. All of the beams which were beams from historic structures, either barns that I had been able to take down or beams that came out of structures that the others had gathered and I purchased ten, all of that's in my studio and is used in other pieces, it's worked into pieces of furniture that I build. But I got a gang of it (laughter).$$Okay.