Jenita Landrum and Shoreigh Williams are two artists whose work is featured in the “Vision & Sound: An African-American Experience” exhibition celebrating Black History Month at the Sedona Arts Center through Feb. 28.
“‘Vision & Sound’ was created to present more diverse programming to Sedona as well as bring more awareness to African- American artists living and working in Arizona and beyond,” said Julie Richard, SAC executive director. “The Arts Center, as an arts and culture leader in this city, state and country — needs to present the work of many diverse populations in order to create greater understanding between people and cultures. By bringing in artists that have many different approaches to their work, we create a space for that dialogue to flourish and understanding to develop … When you actively engage those artists in discussing the meaning and stories behind their work, that’s when change occurs.”
Programs surrounding SAC’s exhibits this month include a symposium on Monday, Feb. 27, in partnership with Arizona State University Center for the Study of Race & Democracy, designed to get transformation started.
‘We the People’
When Landrum observed elementary school students reciting the Pledge of Allegiance, she wanted to understand the significance of those 31 words that they chanted during their morning ritual.
“What exactly does the Pledge of Allegiance mean?” she asked herself. She deconstructed the words “indivisible” and “with liberty and justice for all.”
“I got curious about how many people are walking around in this world feeling visible or invisible, or indivisible,” Landrum said. “I kept saying, what does that mean? Who’s it for? It’s like, visible, OK, I get that. Invisible — how many people in this world are walking around feeling very invisible? I’ve been made to be invisible. And I know, you see me. You see me, but you want to pretend like you don’t, or you want to walk around me as if you don’t.”
Exploring the words with an art grant from the Columbus Art Commission, Landrum created “We the People,” five mixed-media canvases that are currently on display at SAC. The titles include “I Will Obey,” “Invisible Man,” “Somebody’s Child,” “Destin to Be” and “Do You See Me Now?”
Landrum crafted them from tissue paper, photographs, wallpaper and layers of acrylic paint. Each canvas depicts the red, white and blue colors of the American flag. Some include images of the stars and stripes, while others are wrapped in yellow crime scene tape. Each piece displays mugshots of black people interspersed throughout. The images each tell a story — a story of abandonment, social injustice and inequality.
Grassroots
Landrum grew up on a farm in Grass Lake, Mich. Hers was the only black family in a small white community that enjoyed a good life in the country. When her parents divorced, the family moved to the city.
“We were country kids, and in moving to the city — that was such an eye-opening experience for us,” Landrum said. “In the
country, you’re very sheltered, you’re very isolated, it’s very contained. And in the city, there were just all these other things that, you know, being so young, a lot of things happened to us. We had to learn how to fight; we had to go with the city vibe.”
As Landrum spoke about the city, she also expressed her feelings about racism.
“I didn’t know if I should call myself black or African- American or Negro, as they call me,” Landrum stated. “I call myself black … people always referred to me as the little black lady. When I was in college, people would say, ‘Oh, here comes the little black lady.’ I get it. I’m here. You see me, now what?”
Landrum also recalled visiting Little Havana in Miami, Fla., where the 1999 international custody battle took place between Cuba and the United States over Elian Gonzalez, a 6- year-old boy embroiled in a custody dispute after he and his mother fled Cuba by boat. She and 10 others died, while he was recovered with two other survivors by fishermen. Gonzalez was sent back to Cuba and reunited with his father.
“I went back to my studio, and I started painting [Gonzalez],” Landrum said. “That really pushed me even more into this thought and researching, what is America? Who’s in America? Who’s ‘We the People?’ I just started asking myself a lot of questions.
“I found these photographs while dumpster diving behind a photography store. I didn’t know any of those people in the photos, but at the same time, looking at them, they spoke to me — they gave me goosebumps.
“I just kept looking at them asking, ‘What are they thinking about? Who are they? Where are they from?’ I just started asking all these questions and then I started putting them on the canvas.”
Landrum explained that her art evolved to focus on social issues, abandonment and even her own threatening experiences.
“It really starts out with me,” Landrum said. “Some of this I’ve experienced … People say that I should be angry. I have been angry. I’ve been mad because I don’t get it. So, the artwork allows me to put some of that on paper. And at the same time, if [the work] can stop somebody, just a few minutes to dive into it — because I’m going to pull you in and pull you in, you’ll see something on the surface and then there are other things beyond the surface that’s going to pull you in further. If you can stand there and look at it, and walk away with [feeling] something, I’ve done my job.”
While she is visible in the public eye, Landrum tries to operate as if she is invisible.
“People search me out,” she said. “I didn’t stand by my work [at SAC]. I started looking at everybody else’s. I like to stay invisible because I get the real person and the real things that they’re saying.”
Conversations
Landrum says that her goal is to initiate a conversation through her controversial work.
“Art has power,” Landrum continued. “If it has the power to move people, to connect people, then I’ve done my job.”
Landrum says there are times she questions people’s authenticity in difficult conversations. “Sometimes people will say what they think you want to hear, and when you walk away, [you question] do they really feel that way?” she asked.
“When it comes down to art, I’m the artist that has no boundaries and who’s a little edgy, a little educated and a little fun,” Landrum said. “You get all of that in my work. I love art — it saved me. I could have been a thug. Y’all know where we come from. We moved to a city. But art has kept me grounded — very grounded. It gives me peace. I just love being in my studio.”
Landrum’s work has been described by others as “too strong,” and she agrees with her critics. However, Landrum says that there is a point to it, and she feels that people don’t talk enough about the obvious issues.
Richard said she agrees with Landrum about opening the line of communication.
“I think we are just starting to see the impact of programs like this here,” Richard said. “We are drawing more diverse crowds and we know locals and visitors are thrilled to see us offering a more interesting array of programs based on their comments to all of us. Overall, artists who might not have gained the spotlight in the past are being raised up and are enjoying the opportunity to make money creating their art. Commissions, exhibitions and other opportunities are coming their way.”
Shoreigh Williams
In addition to Landrum, 33-year-old Williams is presenting a five-piece body of work at the exhibition, titled “Pleading Insanity,” which reflects her innermost feelings. Williams said that her work stems from conversations she has with herself, and that she uses art as a form of healing from the inside out.
“Every month is Black History Month,” Williams said.
She also expressed the importance of speaking one’s truth.
“Every artist speaks their truth and it’s very important to speak what is true to you,” Williams said. “You can’t worry about what the outside wants, because there are people relying on what you have to say.”
Editor’s note: This story was updated Sept. 10, 2024, removing all references to a third artist.
