“The old cliché tells us that “clothes make the man.” One art exhibit in Atlanta right now is focused on the ways that being a black man is being redefined, partly through the clothes they wear. It’s called “Dandy Lion: (Re) Articulating Black Masculine Identity.” The show is on view at the Hammonds House Museum in the West End through May 31.”
“Their choice in clothing is about freedom. Imagination. It’s about blowing up the definition of what is black masculinity and repackaging it in polka dots, stripes and bold shades of pink and red and yellow. It’s about wearing opera shoes and fedoras. It’s dandyism today.”
“Tim Fielder is a Glyph Award-winning illustrator, concept designer, cartoonist, and animator. His career revolves around comics, graphic novels and other forms of visual literature. Fielder joins us in studio to discuss his latest exhibit, “Black Metropolis: 30 Years of Afrofuturism, Comics, Music, Animation, Decapitated Chickens, Heroes, Villains and Negroes,” which is on display until Nov. 25 at the Hammonds House Museum.” (24:14)
“As We Dream” is a small sampling of works from its permanent collection, intended to offer a glimpse into what has been accomplished over the past 30 years. The collection Dr. Otis Thrash Hammonds left behind is the foundation upon which Hammonds House Museum was built.”
"Acclaimed Atlanta artist and Morehouse College professor Charles Huntley Nelson Jr. passed away in 2009 at the tragically early age of 38 after a battle with stomach cancer, but he nonetheless left a lasting mark on the city. A new retrospective titled Welcome to Atlanta curated by Atlanta artist Fahamu Pecou opens June 15 with a reception at Atlanta’s Hammonds House Museum."
"As she works to brings Hammonds House up to speed, Wright says she understands it will be a constantly unfolding process. “You can’t do the same thing for 30 years,” she says. “You can’t do the same thing for 10 years. You must be perpetually changing, not only the brand, but why you do it. You have to present work that makes people hungry for this culture."
“Alfred Conteh displays three massive sculptures. As a spiritual activist, Conteh offers the idea that we are passing energy from one generation to the next. In Conduit, Conteh sculpts an electrical socket to the body of a traditional African sculptural form inside a circular shape. In doing so, he is asserting that energy transmits through the body like electrical currents. By placing the figure within a circle, he reinforces the idea that energy moves in a circular direction about the world, inside us and between us. What we give, we get back.”
“The collage technique is at the root of the inspiration of her appliqués. Collage is an artistic medium popularized by renowned artist Romare Bearden. Once inspired by a concept, Peters begins building the vision of the appliqué by selecting commercially produced fabrics, then cuts, redesigns, and sews by machine to create new images with dimension and depth. One must look carefully to see exactly which images and colors have been repurposed to create new scenes. Illusions and surprise textures appear without warning in her appliqués.”
"The HHM board is so pleased that Leatrice has agreed to join the leadership team of HHM, and build off the legacy of this amazing institution to take it to new heights,” says HHM board chair Imara Canady. “She is a seasoned, internationally respected arts administrator and programmer, and we know that she will do great work during her tenure at HHM, and in collaboration with the board, to continue to make this institution great, and present some of the best, brightest and most innovative artists that the world has seen.”
— Hammonds House Museum marks new era with visionary leadership, May 23, 2017 (Atlanta Daily World)
"The arts, especially visual arts, are special to me because I am a visual artist and graphic designer,” Fuller explained when being inducted in Atlanta Tribune’s Hall of Fame in 2014. “I know the power of the creative process personally and universally in our daily lives as a vehicle for communication, cognitive development, education and enjoyment. My passion for art to be used to activate alternative methods for everyone, especially young people, to be inspired, knowledgeable about the talents and histories of artists of African descent, and proficient in the academic subjects that are so important in today’s achievement measurement system.”
— Myrna Fuller, Art Advocate, Retires From The Hammonds House Museum, May 11, 2017 (Atlanta daily world)
"Nine years ago, Brandi and Jermail Shelton said their “I dos” at the Hammonds House Museum. In January, they returned to the historic West End home and opened a tea room in the very spot where they were married. It’s the second retail shop and cafe for Just Add Honey Tea Co., a business that specializes in artisan teas.”
"Mays believes that “everybody is an artist – it just gets beaten out of us.” He also believes that “everything is art” and the subjects of his paintings are drawn from everywhere. Political themes often emerge, though Mays is quick to let those who observe his paintings come up with their own meanings. His paintings are often abstract and figurative at the same time again both confusing the viewers and drawing them in. Mays describes himself as “a global contemporary artist,” one who is intent on reclaiming his narrative. He says, “I can control my narrative because I am still alive."
— News: Ealy Mays exhibit continues through Sunday at Hammonds House, june 24, 2016 (Atlanta Intown)
Chong, who is prone to “picking things up off the street and dragging them inside,” prefers to work with organic materials in setups for photos and installations. Burlap (known as a crocus-sack in Jamaica) serves as a backdrop for many of his photomontages, and conjures the 112-pound bags of sugar that were the stock in trade of his family’s confectionery business in Kingston. Skulls, bones, rawhide, hair, horns, shells, leaves, flowers and fruit appear with frequency. He sometimes anchors larger compositions with governmental documents which he calls “markers of our presence in society [that] for better or worse… remain well after we’re gone,” as in My Jamaican Passport (1992). (His passport photo, a self-portrait, bears a striking resemblance to Bob Marley.)