Showing posts with label Hill District. Show all posts
Showing posts with label Hill District. Show all posts

25 September 2016

St Benedict the Moor Sculpture by Frederick Shrady, Drago Kuharec

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This sculpture of Saint Benedict the Moor has a commanding view of the city of Pittsburgh. Climbing into the Hill District along Centre Ave you can’t help but be impressed by the image of this saint watching over our town.

The parish this sculpture belongs to was originally established in 1889 by Holy Ghost College (now Duquesne University) specifically to minister to the African American population here. It is now a product of mergers with four other parishes, which brought in a mix of other heritages.

The decade of the 1960’s was a turbulent one. The church is across the street from Freedom Square, where many protests and demonstrations for racial equality began over the years. The church and the sculpture overlook the Lower Hill, where construction of the Civic Arena displaced half the African American community in the early 60’s against their will. When the sculpture was dedicated in 1968, the bishop of Pittsburgh was quoted in The Bridgeport Post as saying that the sculpture proclaims the Gospel message of love and unity in an area threatened by divisions arising from color and ethnic backgrounds.

We read that artist Frederick Shrady was assisted by Drago Kuharec, a metal expert, in the creation of the piece. We heard from Mr Kuharec's son who wrote: Being the Son of the sculpturer named Drago Kuharec, the sole builder of the St. Benedict the Moor sculpture atop the church at 91 Crawford St., Pittsburgh, it is error to say my Father assisted F. Shrady. I was 13 when my Father worked solely to build the sculpture from scratch. I assisted him when it had to be welded together piece by piece on a double rectangular steel tubes which was the base that gave it it's ability to stand errect. Mister Frederick Shrady was only involved in assisting in outline drawings of the statue which my Father used only as a rough outline of the piece to be made. Perhaps it would be more accurate to say that the sculpture was designed by Mr Shrady and brought to life by Mr Kuharec?

The sculpture is 18 feet high, 14 feet wide, and 120 feet up. It was sculpted entirely by hand out of aluminum and weighs in around 3,000 pounds. They had to worry as much about the support for the sculpture as the sculpture itself. Mounted on the church steeple near the top of the hill, the framework had to support the size and weight of this statue and take into account the potential for high winds.

Benedetto da San Fratello was the son of slaves, born in Italy in the 16th century. He was granted his freedom at birth because of his parents’ loyalty. He became a Friar known for patience and tolerance in the face of racism, as well as for his charitable works. Saint Benedict the Moor is the patron saint of African American Catholics in North America. There are many churches named in his honor in the US as well as in South America.

Frederick Shrady did many religious and secular sculptures, but is perhaps most famous for being the first American sculptor commissioned by a pope. He created a marble statue of Our Lady of Fatima for the Vatican Garden.

August Wilson Tribute Mural by MLK Community Murals

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This mural is done in honor of Pulitzer Award winning, African–American playwright August Wilson. Born Frederick August Kittel in 1945, he took the pen name August Wilson when he was twenty and began his writing career. Initially he worked at being a poet, but in 1979 his career as a successful playwrite began.

August Wilson’s Plays

  • 1979 Jitney
  • 1982 Ma Rainey̵s Black Bottom
  • 1983 Fences, which earned his first Pulitzer Prize and a Tony Award
  • 1984 Joe Turner’s Come and Gone
  • 1986 The Piano Lesson, earned the second Pulitzer Prize
  • 1990 Two Trains Running
  • 1995 Seven Guitars
  • 2001 King Hedley II
  • 2003 Gem of the Ocean
  • 2005 Radio Golf

Mr Wilson’s ten plays are a series, known as The Pittsburgh Cycle. Each of these plays is set in a different decade of the twentieth century, where he depicts life as an African–American here. Nine of his plays are set in the Hill District, where this mural now stands in his honor.

Along the bottom of the mural are ten scenes. Each created to represent one of the plays. These images are the portion of the mural done by young artists as a summer work program. They learn art and painting from established artists and spend their summer doing something that beautifies their neighborhood and educates us all.

We found so much symbolism crammed into every corner on this mural. Some of the people passing by did not know who August Wilson was, and as we discussed his accomplishments and pointed out some of the images in the mural, they seemed as fascinated as we were. That shows promise that the mural will do it’s job in educating more Pittsburghers about this talented writer.

Converted this close up to black and white to make it easier to read.

Phoenix by Thaddeus Mosley

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One of America’s most celebrated African American sculptors, Thaddeus Mosley works without preconceived designs. In an interview with David Lewis he said When I bring in a load of logs or blocks of stone I stack them up in my workspace. The logs are generally green and need to dry out. Every time I go to my workbench, I walk by them and get to know them better. The more I see them and re–stack them the more I see special characteristics in each one. One log may split while it’s drying, another may have a scar of rot, another a twist, or a knot. Similarly, stones have different grains, colors, textures. Gradually an idea begins to assert itself, and then I start to carve.

Phoenix is one of Mr Mosley’s most well known works. It sits at a corner that was set on fire during the civil rights riots in the 60’s. In the late 70’s the Urban Redevelopment Authority was trying to rebuild in this area, and Thaddeus Mosley was enlisted to create a piece of public art for the location. He wasn’t getting paid for this. It was a shoestring budget with no money available for artwork, but others offered to supply a log and to landscape a small parklet to install it.

Mr Mosley then carved the 14' cedar log into what he named Phoenix. A sculpture that would signify the community’s rise from the ashes of the riots. In a Pittsburgh Courier interview by C. Denise Johnson, Mr Mosley describes his art as an urban Afro–American–Euro–Jazz influenced art. It is an effort to create works of vitality and identity which enhance space and transcend time.

Three Rivers Bench

While not outside where you can bike to it or view it without paying an admission fee, Thaddeus Mosley has another piece of artwork on display locally that you might see if you visit the Convention Center. We thought we’d include it here. Three Rivers Bench is carved from black walnut and can be found on the second floor.

12 September 2016

Camera Man by James Simon

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Teenie Harris was an amazing local photographer who documented every day life for the Pittsburgh African American community. The Carnegie Museum of Art holds his archives and you can find out more about his life and career on thier website.

Local artist James Simon once again worked with ACH Clear Pathways kids to create a fun, unique mosaic. Camera Man is a tribute to Teenie Harris and includes some of his photographs.

10 November 2015

Freedom Corner by Carlos Peterson, Howard Graves

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So much more than art – this sculpture/monument marks a place in history.

The Hill District was once a thriving community full of families and successful businesses. It was perhaps THE place to be if you were a jazz musician. Certainly everyone who was anyone in jazz music performed here. Then the politicians decided that they needed to build the Civic Arena in the western section of this community (the lower Hill) and in the process of doing that, they destroyed it all. As thousands of people lost their homes and businesses, the neighborhood was split apart. To this day it has been unable to regain everything that was lost.

After that debacle, the residents that were still there decided they would not allow something like that to happen to them again. When the city thought they were going to continue their plans for developing the rest of the neighborhood, the community banded together and drew the proverbial line in the sand at this point – the corner of Centre Ave and Crawford St. This is where they gathered to protest. This is where they posted the sign that said No development beyond this point! This is where the protest marches started from. This is what became known as Freedom Corner and is the point from which many, many protests and demonstrations have been launched over the years.

The history of this little corner of real estate used to be documented on it’s own website, but sadly that resource and the wealth of information it supplied disappeared. We made the mistake of expecting it to always be there so we only summarized a bit of the information here. Our bad. Hopefully someone will provide all of those wonderful details again, but for now this is what we know:

Created by two men from this community, there are essentially seven elements to the monument. We’re sad to report that the audio/visual educational display that was once on site is gone. We could not find the chronological history that was supposed to be on the eastern side of the monument, and although the monument is only 13 years old, the wording that was etched into the stone next to the Spiritual Form is so worn that it cannot be read any longer.



Working from the center outward on the circular monument, you first find the Stone of Origin. A piece of polished granite from Zimbabwe, this represents the origin and power of the African American heritage.



Outside the Stone of Origin is the Circle of Honor, comprising the names of 25 heroes of the civil rights movement that lost their lives trying to peacefully change our world. Their names are surrounded by the Prayer Circle.




Farther out is the Freedom Marchers’ Ring, with stones symbolizing nonviolent protest and unity, and the names of 70 local civil rights activists.





The outer ring is called The Negative Ring and it represents slavery and injustice, calling attention to the brutality that occurred during the civil rights era.



Spiritual Form is the figure on the Pages of History wall. The shape that appears to take flight is a symbol of hope, faith and the future of the movement for human rights Although we searched for it, we were unable to find information on the text that was inscribed on this wall. Taking the words that we were able to make out, we Googled it to see if we could find the excerpt and came up with: But there is something I must say to my people who stand on the warm threshold which leads into the palace of justice.. We couldn’t tell if the inscription continued or not. This passage comes from Dr Martin Luther King’s I Have a Dream speech in 1963. This made us acutely aware of the fact that most of the nation is familiar with only a few lines from this speech. We think that it’s appropriate to reprint that speech here, because this is what this corner is all about, and we think we all could use a reminder of everything said by the reverend that day:
Five score years ago, a great American, in whose symbolic shadow we stand, signed the Emancipation Proclamation. This momentous decree came as a great beacon of light to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of captivity. But one hundred years later, we must face the tragic fact that the Negro is still not free.
One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land.
So we have come here today to dramatize an appalling condition. In a sense we have come to our nation’s capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the Declaration of Independence, they were signing a promissory note to which every American was to fall heir.
This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness. It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring the sacred obligation, America has given the Negro people a bad cheque which has come back marked insufficient funds. But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation.
So we have come to cash this cheque – a cheque that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to open the doors of opportunity to all of God’s children. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood.
It would be fatal for the nation to overlook the urgency of the moment and to underestimate the determination of the Negro. This sweltering summer of the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. 1963 is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquillity in America until the Negro is granted his citizenship rights.
The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges. But there is something I must say to my people who stand on the warm threshold which leads to the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.
We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force.
The marvelous new militancy which has engulfed the Negro community must not lead us to a distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom.
We cannot walk alone. And as we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, When will you be satisfied? We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro’s basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.
I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.
Go back to Mississippi, go back to Alabama, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair. I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream.
I have a dream that one day this nation will rise up and live out the true meaning of its creed: We hold these truths to be self–evident: that all men are created equal. I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slave owners will be able to sit down together at a table of brotherhood. I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice. I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character. I have a dream today.
I have a dream that one day the state of Alabama, who governor’s lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers. I have a dream today. I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.
This is our hope. This is the faith with which I return to the South. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.
This will be the day when all of God’s children will be able to sing with a new meaning, My country, ’tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of pilgrim’s pride, from every mountainside, let freedom ring. And if America is to be a great nation, this must become true. So let freedom ring from the great hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania! Let freedom ring from the snow–capped Rockies of Colorado! Let freedom ring from the curvaceous peaks of California! But not only that; let freedom ring from Stone Mountain of Georgia! Let freedom ring from Lookout Mountain of Tennessee! Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring.
When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God’s children, black men and white men, Jews and Gentiles, protestants and Catholics, will be able to join hands and sing the words of the old Negro spiritual, Free at last! Free at last! Thank God Almighty, we are free at last.



UPDATE July 2015
We received an email from the artist providing some background for this monument:

FYI,
The monument’s general theme needed to do more than just acknowledge Pittsburgh’s response to the call of freedom. I imagined it as a living landmark that would not only embody accomplishments of the local community, but be, a showcase publicizing hostilities endured during the Civil Rights movement nationwide. Besides being a stage for protest, it needed to be a hopeful place promoting the Reverend Dr. Martin Luther King’s philosophy of non–violence. To reinforce that idea I wanted to include his celebrated I Have a Dream speech that he delivered during the Poor People March on Washington in 1963. However, legal issues, copyright etc. driven by the King Center in Atlanta prevented its use. Instead, after much coercion, they allowed the following excerpt:
But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds.
As a witness/participant to the riots of April 1968, keeping in mind that movement for civil rights would be an ongoing struggle for many, to maintain an atmosphere of peace during any future protest , I choose those wise words, thereby honoring Dr. King Jr. at the same time. Unfortunately, the engraver was given a preliminary layout of the passage, which didn’t include the word that as part of the permitted phrase. Budget restrictions prevented replacing the granite required for correction.
Peace

CFPTA

Update November 2015
Carlos Peterson sent us some photos of a tribute that someone had added to the monument. Tucked into the Spirit Form on the wall, nine roses were placed to honor the nine people killed in the Emanuel AME church massacre in Charleston, South Carolina. We don’t know who took the time to create these roses with photographs of the people murdered during bible study. No doubt a kind soul who was deeply touched by the tragedy.

photo by Carlos Peterson
Mr Peterson also included photos showing renovations on the monument. We were happy to see that the inscription is now restored.

photo by Carlos Peterson

photo by Carlos Peterson

08 September 2015

Anti Drug Mural by John Nichols

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This is one of the oldest murals that we've come across. The condition is very poor and it was difficult to make out what the images were, but we were curious. As we stood there staring at it trying to make out the three figures and what it might have been, a local women came out of the building that it's on and started to talk to us about it. She remembered it from when she was a child. Although she didn't know who had painted it, she knew that it had been there for a very long time and she thought it had something to do with Elegba, a deity of the Yoruba religion. We thought that was fascinating and attempted to find out more.

We kept searching for some information on the mural and eventually came across an article in the Post Gazette archives from the Sunday Magazine, 6 Oct 1985. In it writer Jim Davidson said that this mural had been painted in 1971 by artist John Nichols. It was commissioned by Ile Elegba - which was a residential drug and alcohol program that occupied that building. He went on to describe the mural and said that the two realistic figures and the shadowy blue figure represented life with and without drugs, and if you look closely you can see a syringe. We couldn't make out the syringe any longer, but the description helped us visualize it.

After a lot more research, we finally managed to find an image of the mural when it was still in good condition. It's a black and white photo taken by renowned photographer Charles Teenie Harris, from the Carnegie Museum of Art’s Collection. The museum has graciously allowed us to include a copy of that photograph here.

©2004 Carnegie Museum of Art, Charles "Teenie" Harris Archive
Charles "Teenie" Harris
American, 1908–1998
Mural painted on the side of brick building of Ile Elegba (House of the Crossroads) Drug Treatment Center, another version, c. 1930-1970
black and white: Kodak Safety Film
H: 2 1/4 in. x W: 3 1/4 in. (5.71 x 8.26 cm)
Carnegie Museum of Art, Pittsburgh: Heinz Family Fund, 2001.35.4661
©2004 Carnegie Museum of Art, CharlesTeenie Harris Archive

Summary:

Artist(s): John Nichols
Address: 2012 Centre Ave at Covel Way
City: Pittsburgh (Hill District)
Zip Code: 15219

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Twitter: @PghMurals

New Granada Theater murals by George Gist

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George Gist is considered one of the top African American muralists in the country. His three panel mural on the New Granada Theater pays tribute to it’s rich history of jazz.

This once beautiful, lively, keystone to the hill district has certainly seen better days. No one is willing to give up on it yet though. It seems as though any dream of rejuvenating the Hill District will center on the rebirth of the New Granada Theater. To that end, the Hill Community Delvelopment Corporation (who owns the building) is working toward something good here. They have a program to use art (both visual and theater arts) to help pull the community into a process to make change happen. Mr Gist was brought in to help with murals and more.

Jazz Greats by Kyle Holbrook, Chris Savido, Ashley Hodder

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Chris Savido designed this mural to show what you might have seen when you peaked through the keyhole into the New Granada Theater. The New Granada Theater was once a thriving center of Jazz in this country. Everybody who was anybody in Jazz performed here. All the greats like Louis Armstrong, Duke Ellington, Lena Horne and countless others frequented this theater and it's Savoy Ballroom.
With Ashley Hodder's help, Chris created the crowd watching the show using many local celebraties in the front row. They include August Wilson, a local baseball player from the Homestead Greys, and other local figures past and present.
The New Granada Theater has seen better days. It was once the most important building on Centre Ave and it was designed by the first known African-American architect in Pittsburgh – Louis Arnet Stuart Bellinger. If you go to see this mural it's just east of the theater. There are plans underway to restore this building and once again make it a center of activity in the Hill District neighborhood. The mural of Jazz Greats is a great reminder of what it once was and might be again.
Summary:
Artist(s): Chris Savido, Ashley Hodder
Address: 2037 Center Ave
City: Pittsburgh (Hill District)
Zip Code: 15219
Organization:
PghMurals@gmail.com
Twitter: @PghMurals

Listening Through Time by Chris St Pierre

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We got this information on Listening Through Time from Curt Gettman at the Sprout Fund.

Reaching into the Hill District’s rich past and lighting the way to the future, this lively mural depicts a saxophonist symbolically filling Centre Avenue with the energy of Jazz. The Hill Community Development Corporation, the House of the Crossroads, Freedom Unlimited Inc., and the office of then City Councilman Sala Udin collaborated with artist Chris St. Pierre to develop this idea, which draws on the Hill District’s history as home to a vibrant, world–class Jazz scene during the mid–20th Century. Legends Lena Horne and George Benson have roots in the Hill District, and drummer Art Blakey’s family still reside there today. These luminaries lend their spirit and energy to the mural, radiating a sense of hope and promise for the future while connecting to and commemorating the past.

Summary:

Artist(s): Chris St Pierre
Address: 2201 Wylie Ave
City: Pittsburgh (Hill District)
Zip Code: 15219
Organization:

PghMurals@gmail.com
Twitter: @PghMurals