20/20 - Bing Davis Exhibition Catalog

Davis's "Kneeling" series was created in response to the tragic killing of George Floyd in 2020, employing an innovative approach by appropriating footballs to craft figures in a knee-lowered position. This choice of medium is particularly resonant, as it directly references the protests against racial injustice led by NFL player Colin Kaepernick and others, who kneeled during the national anthem to spotlight systemic racism and police brutality. By transforming footballs into art, Davis draws a parallel between the cultural significance of football in America and the ongoing struggles for racial equality, highlighting the tensions and contradictions within a sport that is deeply embedded in the national consciousness.

In a thought-provoking installation choice, Davis placed four kneeling mats in front of the artworks, inviting viewers to physically kneel while engaging with the pieces. This act of kneeling in front of the artworks mimics the protest gesture within the context of viewing, turning the art experience into a participatory act of solidarity and reflection. This setup emphasizes the series’ connection to broader themes of activism and protest within sports, similar to works by other contemporary artists like Esmaa Mohamoud, who also explore racial injustices in American Football. Through the "Kneeling" series, Davis not only captures a critical moment in American history but also promotes a dialogue on race, justice, and the role of sports as a platform for social change, continuing his commitment to using art as a means for community reflection and societal impact.

Davis's "Urban Mask" series critically engages with the African American experience, particularly addressing the impact of systemic racism and the struggle for civil rights. Created using found objects from urban environments—such as scrap metal, broken glass, and wire—these masks are modeled after traditional African ceremonial masks, but are infused with materials that reflect the realities of urban decay and resilience in cities like Dayton, Ohio, where Davis has been based. The incorporation of these materials speaks to the socioeconomic conditions that African Americans have historically navigated in these settings, particularly during the tumultuous civil rights movements of the 1960s and 1970s when many of these works were created.

In this series, Davis not only revisits the aesthetic and spiritual functions of traditional African masks but also recontextualizes them within the modern struggles against racial injustice in America. Each mask serves as a narrative artifact, symbolizing both the cultural heritage of Africa and the ongoing fight against racial oppression that marks the African American experience. By blending elements of African art with symbols of urban life, Davis's "Urban Mask" series provides a powerful commentary on the continuity of racial and cultural identities amidst the backdrop of civil rights challenges in Ohio and across the United States. This work has gained recognition for its poignant reflection on the past and its urgent relevance to contemporary social issues, establishing Davis as a significant figure in both the art world and broader socio-political discourse.

Willis Bing Davis's "Ancestral Spirit Dance" series skillfully employs oil pastels on black paper to recreate the geometric precision and vivid patterning characteristic of Ghanaian Kente cloth Beginning in 1973, Davis reflected his experiences traveling to West Africa through the Ancestral Spirit Dance artwork series. “I attempt to blend my love for traditional African textiles, as reflected by the geometric patterns in the background, with my urban life experience which is symbolized by the improvisation or abstract gestural movement of a jazz soloist,” wrote Davis. “When I view the completed art work, I see it as a visual prayer of thanks for those on whose shoulders I stand…and dance for joy.” The materiality of the oil pastels enables a dynamic interplay of color and form, echoing the traditional Kente techniques that involve the interlacing of warp and weft fibers to create rich, detailed patterns. By translating the tactile qualities of woven textiles into the medium of drawing, Davis not only nods to the historical and ceremonial use of Kente cloth but also celebrates the visual and symbolic richness of African artistry. This approach not only pays homage to the ancestral craftsmanship of Kente weaving but also showcases the adaptability of these traditional patterns in new artistic forms, highlighting their enduring cultural relevance and aesthetic appeal.

·  Blue in many African cultures, including those in Ghana where Kente originates, symbolizes peace, harmony, and spiritual depth. It is often associated with the sky and the sea, representing vastness and serenity. In Davis's practice, blue could symbolize a bridge between the physical and spiritual worlds, reflecting his focus on spiritual themes and the continuity between ancestral legacies and present realities.

·  White is widely recognized across many cultures for its associations with purity and spirituality, but in the context of African textiles like Kente, it also signifies festivity and celebration. Specific to the Akan and Ashanti peoples of Ghana, white is often worn during important communal celebrations such as festivals and weddings, marking moments of joy and community gathering. In Davis's artworks, the use of white may be seen as a celebration of cultural identity and collective memory, evoking a sense of renewal and unity within the African diaspora.

·  Yellow, resembling gold, carries connotations of wealth, royalty, and status within many African societies, particularly in West Africa where gold was historically abundant and highly valued. For the Ashanti, for example, yellow and gold are colors typically worn by royalty and are indicative of high status and spiritual purity. Davis incorporating yellow into his work could be seen as an homage to the richness of African heritage and the enduring value of cultural traditions, emphasizing themes of prosperity and the historical significance of African civilizations.

Charles White (1918-1979) was an influential American artist whose work played a crucial role in shaping the visual narrative of African American history. Born in Chicago, White discovered his artistic talents early on and earned a scholarship to the Art Institute of Chicago. Throughout his career, he became known for his powerful, large-scale works in charcoal and oil, portraying African American figures with a profound sense of dignity and humanity. Notable pieces such as "Frederick Douglass" (1950) and "J'Accuse!" (1966) are celebrated for not only for their technique, but most poignantly their commentary on racial injustice. White was a key figure in the Harlem Renaissance and a founding member of the Organization of Black American Culture (OBAC), where he and his peers promoted African American art and culture.

Willis Bing Davis has acknowledged Charles White as a major influence on his own artistic practice. White's detailed and expressive portraits resonate with Davis's own efforts emphasizing cultural and historical themes within artwork. Davis shares White's commitment to highlighting African American identity and social justice, reflecting a mutual dedication to using art as a means of cultural affirmation and political commentary.

Elizabeth Catlett (1915-2012) was a groundbreaking sculptor and printmaker whose work focused on the experiences and strength of African American women. Born in Washington, D.C., Catlett studied at Howard University and went on to become the first African American woman to earn a Master of Fine Arts degree from the University of Iowa, One of her most notable works, "Sharecropper" (1952), and sculpture, "Mother and Child" (1956), are renowned for their venerating portrayals of female Black identity. Catlett was also a prominent member of the Taller de Gráfica Popular, a collective dedicated to social and political art, and her work has been exhibited widely in major institutions, including the Museum of Modern Art in New York.

Willis Bing Davis has cited Elizabeth Catlett's focus on African American identity and social issues as significant influences on his own work; Catlett's linocuts and sculptures have also influenced Davis to incorporate similar elements into his work championing female Blackness. Catlett's ability to merge modernist techniques with cultural and political commentary mirrors Davis's approach to addressing African American experiences and history.

Hale Woodruff (1900-1980) was an influential painter, muralist, and educator known for his depictions involving African American history and culture as the main focus points of their artwork, which was taboo for that time. Born in Cairo, Illinois, Woodruff studied at the Art Institute of Chicago and later in Paris, where he was influenced by the European avant-garde. His most notable works include the "Amistad Murals" (1939) at Talladega College, which vividly depict the 1839 mutiny aboard the slave ship Amistad, and "The Art of the Negro" (1951) at Atlanta University, which traces the history of African art and its influence on African American culture.

Willis Bing Davis shares the same journey as Woodruff in dedicating themselves to chronicling African American history through art. Woodruff's "Amistad Murals" and his educational efforts at Atlanta University serve as a model for Davis's own focus on historical and cultural themes. Davis's projects often echo Woodruff's approach that not only prioritizes cultural context within their work, but also uses artwork as a vehicle for pedagogy. Woodruff's murals and his role as an educator mirror Davis’ approach towards public art making as a means to teach and inform those in public.

Richard Hunt (b. 1935) is a sculptor known for his abstract metal works exploring the themes of transformation and movement. From Chicago, Hunt was exposed to metalworking in his mother's hair salon, which sparked his fascination with the medium. He studied at the School of the Art Institute of Chicago, focusing on welding and abstract forms. His sculptures, including "Hero Construction" (1958) and "Jacob's Ladder" (1987), are admired for their interplay between industrial materials and organic shapes. Hunt is known for integrating abstract sculpture into public spaces, sharing in Bing’s vision in making contemporary art more accessible.

Willis Bing Davis acknowledges Richard Hunt's use of metal and abstraction as influences on his own sculptural practice. Davis draws inspiration from Hunt's ability to transform industrial materials into expressive forms. Hunt's public art installations, like "Jacob's Ladder engage with both the environment and the viewer. The dynamic quality of Hunt's work and his success in bringing abstract art into public spaces resonate with Davis's goals of merging form, function, and cultural commentary in his sculptures.

Jon O. Lockard (1932-2015) was a painter, educator, and activist known for his portrayal of African American culture and history. Born in Detroit, Lockard received his education from the University of Michigan and played a pivotal role in the Civil Rights Movement. His series, "The Great Kings and Queens of Africa," along with his portraits of prominent Black historical figures, exemplify his commitment to promoting cultural education and pride. Lockard not only pursued his artistic endeavors but also dedicated himself to teaching and mentoring students, particularly at the University of Michigan.

Willis Bing Davis draws inspiration from Lockard's dedication to honoring African heritage and his approach to cultural education. Lockard's portraits, particularly in the aforementioned "The Great Kings and Queens of Africa" series, highlight African history and foster a sense of pride—a value that deeply resonates with Davis and his artistic and educational pursuits. Davis's work often reflects Lockard's emphasis on cultural heritage and historical representation, and he admires Lockard's ability to employ art as a powerful tool for personal and communal empowerment.

Nelson Stevens (1938-2022) was an Brooklyn born artist and educator whose eclectic Afrocentric works were integral to the Black Arts Movement of the 1960s and 1970s. Born in Brooklyn, New York, Stevens studied at Ohio University and later earned a Master of Fine Arts degree from Kent State University. As a key member of the AfriCOBRA (African Commune of Bad Relevant Artists) collective, Stevens contributed to the development of a visual language that celebrated Black identity. Stevens also played a significant role as an educator, teaching at various institutions, including the University of Massachusetts Amherst, where he influenced a generation of young artists.

Willis Bing Davis and Nelson Stevens share a commitment to Afrocentric themes and the Black Arts Movement. Nelson’s work with AfriCOBRA, particularly his emphasis on creating art that speaks directly to the Black community, resonated with Davis’s own artistic philosophy for racial empowerment. Stevens’s legacy as both an artist and educator has also impacted Davis’s approach to mentoring and teaching, emphasizing the importance of cultural heritage and social consciousness in the arts.

Elizabeth Catlett: Elizabeth Catlett (1915-2012) was a sculptor and printmaker whose work centered experiences of African American women. Born in Washington, D.C., Catlett studied at Howard University and later became the first African American woman to earn a Master of Fine Arts degree from the University of Iowa, where she was mentored by Grant Wood. Her work is known for its powerful portrayal of Black womanhood, focusing on themes of motherhood, resilience, and social justice. Catlett was also a member of the Taller de Gráfica Popular in Mexico, where she produced politically charged prints that highlighted the struggles of oppressed peoples. Her work has been widely exhibited and remains a cornerstone in within discussions of the cross-section between African American and feminist art.

Catlett's focus on examining Black female societal roles shares with Willis Bing Davis's ongoing focus in featuring female artists and objects in their work.. Catlett’s sculpture "Mother and Child" echoes Davis’s own practice in its elegant fusion of form and message, highlighting the enduring spirit and central role of family in African American culture. Davis draws inspiration from Catlett's ability to combine aesthetic beauty with powerful social statements, incorporating similar thematic elements into his own works to celebrate and critique societal structures.

Varnette Honeywood (1950-2010) was a painter and illustrator whose work captured the vibrancy of African American life in USA 1970s. Born in Los Angeles, Honeywood studied at Spelman College and the University of Southern California, where she developed her distinctive style characterized by bold colors and expressive, yet simplified figures. Her work often depicted scenes of everyday life within the Black community, emphasizing themes of family, education, and cultural pride. Honeywood’s art gained widespread recognition through her collaboration with Bill Cosby, providing illustrations for The Cosby Show, where her depictions of Black family life resonated with millions of viewers. Beyond her commercial success, Honeywood’s work played a crucial role in providing positive representations of African Americans in popular culture, inspiring a deeper appreciation of Black identity.

Honeywood's vibrant portrayals of everday African American life share aesthetic and thematic parallels with Willis Bing Davis’s work elevating Black communities and practices. Honeywood's scenes of communal and family interactions, often depicted with a joyful and celebratory tone, align with Davis's interest in showcasing positive scenes of African American communities.

Margo Humphrey: Margo Humphrey (b. 1942) is an acclaimed printmaker whose vibrant, narrative-driven works explore themes of spirituality, identity, and the African American experience. Born in Oakland, California, Humphrey studied at the California College of Arts and Crafts and earned her Master of Fine Arts degree from Stanford University. One of her most celebrated works, "The Last Bar-B-Que" (1989), reimagines the biblical Last Supper with an African American cast, blending humor with a poignant commentary on cultural inclusion and racism. Humphrey has also been a dedicated educator, teaching at institutions like the University of Maryland, where she has influenced generations of artists.

Margo Humphrey’s narrative-driven prints, characterized by their bold colors and complex symbolism, complement Willis Bing Davis's approach to integrating personal and cultural history into visual art. Humphrey's "The Last Bar-B-Que" offer a playful yet profound exploration of historical and contemporary narratives, a method echoed Davis’s use of art as a platform for cultural dialogue and education.

Tyrone Geter (b. 1947) is a contemporary artist known for his mixed-media works exploring themes of race, identity, and social justice. Born in Anniston, Alabama, Geter’s artistic vision was greatly nfluenced by growing up during the Civil Rights Movement. He studied at Ohio University and later spent seven years in Nigeria, where he was began incorporating more African art and culture into his work. Geter’s work often combines expressive charcoal drawings with collaged elements, creating emotionally charged pieces that address the complexities of the Black experience in America within figurative forms. His series "Living in the Light of Hell’s Shadow" is a poignant exploration of the enduring impacts of racism and violence on African American communities.

Tyrone Geter and Willis Bing Davis share a profound commitment to addressing social issues and racial injustices through their art. Geter’s powerful mixed-media works, which often tackle themes of racial tension and human resilience, resonate with Davis's explorations of these similar issues. Both artists draw on their personal experiences and cultural heritage to inform their work, creating pieces that challenge viewers while highlighting the strength and complexities of the lived African American experience.

James Pate (b. 1968) is a contemporary artist whose work engages with themes of social justice, African American history, and cultural identity. Born in Birmingham, Alabama, Pate studied at the Dayton Art Institute and the School of the Art Institute of Chicago, where he developed a style that blends realism with abstract elements to create visually striking narratives. Through dramatic, monochromatic compositions, Pate juxtaposes images of historical and contemporary figures to provoke dialogue around the ongoing struggles faced by African Americans. His work has been exhibited nationally and serves as a call to action, urging viewers to confront and address the systemic issues affecting Black communities.

Pate’s "Kin Killin’ Kin" series, which addresses violence within African American communities, shares thematic concerns with Willis Bing Davis’s exploration of societal issues affecting Black individuals. Both artists utilize stark, impactful imagery to invoke reflection and dialogue on critical issues, using art as a tool for social critique and change. Their works serve as both a mirror and a challenge to viewers, compelling engagement with difficult but necessary subjects.

Door Panel

Wood
18” x 13” x 2 ½”
1974
Lamidi Fakeye, Yoruba, Nigeria

This door panel, carved by renowned Yoruba artist Lamidi Fakeye in 1974, exemplifies the continuation of traditional Yoruba woodcarving practices. Fakeye, a master carver from a lineage of skilled artisans, infused his work with both cultural significance and technical mastery. The Yoruba culture is deeply rooted in artistic expressions that convey spiritual beliefs, historical narratives, and social customs, making artifacts like this door panel valuable as they preserve and communicate the rich heritage of the Yoruba people.

Dogon Lidded Box

Wood
20” x 8” x 5”
Dogon, 21st Century, Mali

The Dogon people are celebrated for their sophisticated woodcarvings, which often serve religious and symbolic purposes. This lidded box, made within the 21st century, likely held sacred objects or was used in ritual contexts. The Dogon culture is renowned for its complex cosmology and detailed iconography, with art playing a central role in religious ceremonies and the preservation of knowledge, making this box valuable for its connection to Dogon traditions.

Kente Cloth

Double Weave
10’ x 6’
Ghana

Kente cloth is one of the most recognizable symbols of Ghanaian cultural heritage. Traditionally woven by the Akan people, Kente is worn on significant occasions and represents status, identity, and ancestral lineage. The Akan culture places immense value on the symbolism embedded in Kente, with each pattern and color carrying specific meanings related to proverbs, history, and ethics, making these textiles valuable cultural documents and symbols of pride.

Calabash

Goat Skin, Paint, Cowrie Shells
11” x 6 ½”
Nigeria

In West African societies, calabashes serve both practical and decorative roles. This particular calabash, adorned with cowrie shells and intricate painting, is not only a functional object but also a symbol of wealth and status. The diverse cultures of Nigeria often use such objects in both everyday life and ceremonial contexts, and the inclusion of cowrie shells—a symbol of wealth and trade—enhances the cultural and economic value of this artifact.

Beaded Sash

Beads & Cowrie Shells on Cloth
55” x 6 ½”
Nigeria

Beaded sashes like this one are integral to traditional Nigerian regalia, often worn during ceremonies or as symbols of rank. The intricate beadwork and inclusion of cowrie shells highlight the craftsmanship involved, as well as the cultural significance these items hold within various Nigerian communities. These sashes are valuable not only for their beauty but also for their role in expressing social hierarchy and cultural identity in Nigerian societies.

Kuba Cloth

Raffia Plush Cloth
20” x 22”
Democratic Republic of the Congo

Kuba cloth, woven from raffia fibers, is known for its bold geometric patterns and tactile richness. The Kuba people have a long tradition of creating these textiles, which were historically used as currency and during significant social ceremonies. The Kuba culture places great emphasis on visual art as a means of communication and social expression, making these cloths valuable artifacts that embody both artistic skill and cultural significance.

Dan Mask

Wood & Fiber
9” x 5”
Liberia

Dan masks hold profound ritual significance, often used in ceremonies that invoke the spirits or mediate social harmony. These masks are central to the Dan people’s spiritual life, acting as conduits between the material and spiritual worlds. The Dan culture values these masks for their ability to maintain social order and connect the community with their ancestors, making them valuable for their deep spiritual resonance and cultural function.

AA8. Reliquary Figure (Kota People)

Wood & Metal
25” x 11” x 1 ¼”
Gabon

The Kota people of Gabon created these reliquary figures to protect ancestral relics and ensure the continued presence of the ancestors in communal life. The combination of wood and metal in these figures is distinctive, representing both the spiritual and material aspects of protection and reverence. The Kota culture places a strong emphasis on ancestor worship, and these figures are valuable as they embody the connection between the living and the dead, preserving the spiritual heritage of the community.

Nwantantay Mask

Wood & Paint
41” x 9” x 6”
Burkina Faso

Nwantantay masks, characterized by their large size and vibrant geometric patterns, are integral to the cultural practices of the Bwa people. These masks are used in agricultural and initiation ceremonies, where they embody the spirits of nature and play a role in ensuring communal well-being and successful harvests. The Bwa culture’s deep respect for nature and the spiritual world is reflected in these masks, which are valuable for their role in both ceremonial life and as symbols of the Bwa’s connection to the environment.