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Artists Partner with State for “Your Actions Save Lives” Campaign

“These accomplished artists are tapping into their culture and creativity to share empowering messages with communities that have been hard hit by COVID-19,” said Chet P. Hewitt, president and CEO of the Sierra Health Foundation.

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Jessica Wimbley, a Sacramento-based African American artist, uses her digital art to empower Black people to have agency in their own lives. Photo courtesy of CBM.

More than 20 California artists partnered with the state for the “Your Actions Save Lives” campaign. The effort was created to uplift and celebrate the resilience of communities and encourage safe practices that stop the spread of COVID-19 as Gov. Gavin Newsom plans to reopen the state on June 15.

The 14 original art projects included in the campaign range from murals, interactive exhibits, and live performances from artists based in communities highly impacted by the COVID-19, including Oakland, Sacramento, Stockton and San Diego.

“The arts have an opportunity to be uplifting and healing to your emotions,” said Jessica Wimbley, an African American digital artist who collaborated with the state for an advertisement on an Oak Park billboard in Sacramento and a digital art display at Arden Fair Mall in Sacramento.

“It’s been a breath of fresh air to work on this campaign. There’s been so much negativity and divisiveness that’s happening in the world that is heavy on the spirit,” said Wimbley.

“It’s been transformative to work on this project,” she added.

The state partnered with the Center at Sierra Health Foundation in Sacramento for the project which relies on the power of art to communicate the importance of health awareness in addition to getting vaccinated.

“These accomplished artists are tapping into their culture and creativity to share empowering messages with communities that have been hard hit by COVID-19,” said Chet P. Hewitt, president and CEO of the Sierra Health Foundation.

“Art has incredible power, and we believe these works will spark important conversations, connections, and inspiration throughout the state,” he said.

Four female artists, including Wimbley, have used the project to tap into their respective cultures to create powerful visual artworks that empower and inform their diverse communities.

The interactive installation, ‘Benevolent Animals, Dangerous Animals,’ by Masako Miki located in Oakland’s Chinatown was inspired by Japanese folklore.

Sunroop Kaur, a classical artist, whose Spring mural is located in Stockton was inspired by her Punjabi-Sikh heritage. In San Diego, the mural ‘Stop the Spread’ by Tatiana Ortiz-Rubio honors her Mexican heritage.

In addition to the art campaign, Newsom recently announced a $116.5 million incentive program that will reward people in California for getting vaccinated. The state allotted $100 million in grocery gift cards worth $50 each for the next two million people who get vaccinated.

The remaining $16.5 million will be awarded as cash prizes to people who have been vaccinated across the state. More than 17 million people in California are fully vaccinated which is about 44% of the state’s population.

The incentive program aims to encourage everyone in California to get vaccinated with a goal to reopen the state by mid-June this year.

State officials say they are determined to fully reopen California schools and businesses in efforts to help the economy recover.

Black and Brown families continue to experience the brunt of the economic blow caused by COVID-19 despite the state’s efforts for community outreach to minimize hardship in their respective communities.

The artists featured in the state’s “Your Actions Save Lives” campaign hope to communicate messages of unity and solidarity through art influenced by their different cultures.

Four local artists celebrate their heritages and draw inspiration from their multicultural communities.

Masako Miki — Oakland

The interactive art installation ‘Benevolent Animals, Dangerous Animals’ by Miki was inspired by the idea of a treasure hunt throughout Chinatown in Oakland. The pandemic forced people to stay indoors, but the public art installation encourages people to explore different shops and restaurants while admiring the art.

The artwork was inspired by shapeshifting animals in Japanese mythology.

“I wanted to make this positive and uplifting because when things are dark and difficult, we need to have more positive images,” said Miki.

The current reality of the pandemic is, “so dark and difficult that we need to have imagery that gives us the ability to envision something positive,” she said.

In Japanese culture the tiger is a majestic animal that is fearless, she says. The cultural message in the artwork echoes notions of toughness.

“Resiliency is our strength,” and the benevolent animals featured in the art are meant to encourage people to, “respect each other and have empathy to get through this difficult time together,” said Miki.

Recent incidents of violence against Asians have fueled racial tension in America, in addition to the violence toward African Americans nationwide. Miki aspires to use her artwork to dispel stigmas related to COVID-19 about the Asian community.

“We have to have this dialogue so that I can introduce my culture in such a way that it becomes familiar and it’s not something that they’re afraid of because they don’t know about it,” said Miki.

Artistic performances and visual displays created by all the artists in the “Your Actions Save Lives” campaign have been exhibited since April and will continue until June this year.

Sunroop Kaur — Stockton

Kaur, an artist of South Asian descent, aims to decolonize classical art by using people of color as the center of attention in her paintings.

The large population of Punjabi Sikh immigrants in Stockton is a major influence in Kaur’s artwork. Kaur is intentional about using people of color as the focal point in her ‘Spring’ mural located at JMP Restaurant Supply.

“This mural is a visual celebration of my community and its resilience to not only survive in a foreign land but to thrive,” said Kaur.

The mural draws from the idea of, “decentering whiteness within my work by using people of color is my main fitters,” she said.

“The appropriation of Western classical art canons as a way to decolonize my own body and my culture,” she said.

The artwork includes two people socially distancing and wearing masks depicted through the Italian Baroque portraiture, a 17th-century art style associated with grandeur, movement, and drama.

The body language from the figures symbolizes, “the universal longing and yearning we feel for one another, but also acknowledging the fact that to keep our loved ones safe,” said Kaur.

The mural also includes pastel-colored floral patterns in reference to Spring which represents the reemergence of life following the pandemic. The mural includes royal blue arches as well as pink and malachite with historical pastel pigments that are part of Persian culture.

 Jessica Wimbley — Sacramento

Wimbley, a renowned African American artist, uses her digital art to empower Black people to have agency in their own lives.

The Oak Park Billboard, which is part of a state-sponsored advertising campaign, features Wimbley’s husband as the model. The representation of dark-skinned Black men is important when there have been many incidents of people dying in the media.

The billboard reinforces, “This notion of a Black man living,” said Wimbley.

“It’s really important to bring humanization to the representation of Black people in media. And focus on producing an agency, and empowerment,” she said.

Wimbley’s Masking Series was inspired by the tradition of masquerade which is celebrated in many cultures across Africa. The art series features a still photo of a face with a mask modeled by her husband and a multimedia image with a mask reflecting different visuals.

“The storytelling communicates the important occurrences within the community, I was reflecting on wearing a mask within the masquerade culture and the transformative nature of both putting on a mask and wearing one,” said Wimbley.

Wimbley also wanted to humanize Black and Brown people who were disproportionately impacted by COVID-19. The added stress of police brutality resulting in the death of African Americans nationwide also inspired Wimbley to show that Black people have agency in their own lives.

Through her art, Wimbley said that she wants Black people, “to be in a place of empowerment, versus, a space of trauma.”

“We are a part of an interconnected story and part of each other’s stories. We have agency in how we move forward, and we can write, claim, and develop what that next phase looks like,” said Wimbley.

The symbolism of the images presented on the Oak Park billboard and the digital display at Arden Fair Mall highlight different codes that have inspired social justice movements throughout the nation. On the billboard, the model is wearing a mask with coded patterns promoting vaccinations and several rings, one with Harriet Tubman.

Tatiana Ortiz-Rubio

In her ‘Stop the Spread’ mural located at Bread & Salt Gallery in Chicano Park,

Mexican-American visual artist Ortiz-Rubio used the image of a Latina woman to raise awareness on COVID-19 safety precautions in her community.

According to national data, Latinos make up about 30 % of San Diego’s population. They were disproportionately affected by COVID-19 because a disproportionate number are essential workers or undocumented people.

“This is truly a message for anyone in the world because a pandemic has affected us all. But it hasn’t affected us equally,” said Ortiz-Rubio.

“In the United States, minorities have been affected because of their race and economic status,” she said.

Muralism was a social movement which helped foster systematic change in Mexico. Ortiz-Rubio said that the Black Lives Movement also inspired her to challenge racism and inequality through her artwork.

“It speaks to everyone, and the fact that it is a Latin American woman speaking to anyone, is also important because usually generalized images are of a White person,” she said.

Being a woman is an integral part of Ortiz-Rubio’s experience creating the mural. She recalled young girls and their mothers witnessing her paint the mural from their backyards which reaffirmed her desire to use a Latina as the centerpiece of her mural.

“It’s very empowering to be celebrated,” said Ortiz-Rubio.

“This will be a message that will take that stigma away,” she said.

The visual artist said that she wants Latin Americans to be represented and celebrated in her art especially when they are the target audience.

California Black Media’s coverage of COVID-19 is supported by the California Health Care Foundation.

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Art

Oakland Director Boots Dazzles Once Again in ‘I Love Boosters’

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

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Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.
Naomi Ackie, Taylour Paige, and Keke Palmer star in “I Love Boosters” playing now in theaters. Directed by Oakland resident Boots Riley. Image courtesy of Neon.

“I feel lonely,” Keke Palmer’s character Corvette says in the first few minutes “I Love Boosters,” the new comedy adventure film from Oakland-based director Boots Riley.

“I wish I could feel lonely,” Naomi Ackie’s character Sade responds. “Try having kids.”

“I Love Boosters” teems with kaleidoscopic colors, sharp playful social critique, otherworldly plot twists, and fast-paced action, but it’s grounded in its main characters’ simple and relatable motivations: They want to be less isolated, and more free to pursue their own creative endeavors.

They’d like to design clothes and run a fashion boutique, but, unfortunately, they’re mostly busy surviving. Corvette and Sade, along with Mariah, played by Taylour Page, hustle and scheme through their brilliant scrappy organized crime group, the Velvet Gang. The gang regularly boosts clothes in the Bay Area and sells them at discounted prices.

Riley portrays the gang in a positive light in “I Love Boosters,” echoing the sentiment and title of a song he recorded 20 years ago with his hip-hop band, The Coup, where he praises boosters for providing poor communities with nice clothes they can afford: like a Robin Hood of the ’hood. But while morally righteous, materially, the gang is troubled. Corvette is haunted by unpaid bills and fears getting kicked out of the building where she squats, a shuttered fast-food chicken joint.

One thing that separates Riley’s film from most others about criminal gangs is that the Velvet Gang’s members work for a living. Theirs isn’t a greedy fantasy of becoming filthy rich, or for one last hit: Boosting is a job that still doesn’t pay nearly enough.

Riley’s creative output is influenced by progressive ideals. His work, which includes six albums, the 2018 film “Sorry to Bother You,” and the 2023 comedy series “I’m a Virgo,” always shows that the alienation working-class people feel is inevitable under capitalism, he recently told The Guardian.

Visually, the film is a mix of psychedelia, afro-surrealism, noir, and perhaps a comic book.

The villain, Christie Smith, played by Demi Moore, an evil genius billionaire and fashion designer who runs the expensive clothing company the gang boosts from. She repeatedly appears on the news to put a target on the Velvet Gang members’ backs. When the gang ends up connecting with those who Christie directly exploits –workers here in the Bay Area, but also those in sweatshops overseas– the fight against Christie can commence; and uncoincidentally, Corvette starts to feel less lonely.

I don’t want to say much about that fight, but it’s delightful. Sci-Fi elements (which appear connected to Marxist theory) enter into the narrative to tie what’s become a pretty scatterbrained story together. Grounded by Palmer’s acting, “I Love Boosters” is a total joy and a refreshing break from the typical narratives we see these days. It’s totally over-the-top, but it knows it is.

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Art

After 10-Year Wait, Fillmore Heritage Center Reopens in San Francisco

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

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Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.
Rev. Amos Brown of Third Baptist Church addresses community members at the Fillmore Heritage Center ribbon cutting. Photo by Linda Parker Pennington.

By Linda Parker Pennington, Special to The Post

Last Saturday morning, the cloudy skies cleared just as the highly anticipated ribbon-cutting ceremony began, marking the reopening of the Fillmore Heritage Center at 1330 Fillmore and Eddy.

The complex – which had once included Yoshi’s Jazz Club, the Lush Life Art Gallery, the Koret Heritage Lobby, a 54-seat microcinema, and the Black-owned 1300 On Fillmore restaurant – shuttered in 2015.

After serving as the economic and cultural hub of the Fillmore’s historically Black community for more than a decade, the center’s closure ended what was called the “Rebirth of the Cool,” referring to the neighborhood’s role during the height of Black Jazz in the United States.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

San Francisco Mayor Daniel Lurie announcing the reopening of the Fillmore Heritage Center. Erika Scott, owner of Honey Art Studio, looks on with pride. Photo by Linda Parker Pennington.

“The Fillmore is the most important neighborhood in San Francisco’s history for centering Black culture, music, business, and community, and has shaped this City and influenced the entire country,” said San Francisco Mayor Daniel Lurie to the gathering of more than 100 community leaders, business owners, and public officials. “This building reflects the deep roots of the Fillmore. Urban renewal left deep scars that are still felt today. This Center celebrates a strong Black community that continues to shape San Francisco. I am proud to join the community as we reopen the Fillmore Heritage Center.”

Although the previous stakeholders will not be returning to the center, spaces are available for nonprofit organizations and ventures, such as Fillmore native Ericka Johnson’s Honey Art Studio.

“This Center will be an economic engine and a thriving venue that shines a light on the Black-owned businesses in this neighborhood and lifts the entire district,” Lurie continued. “Our City is committed to this community for the long term.”

“We’re excited to collaborate with the City to finally reopen these doors,” said Ken Johnson, a videographer and community leader who’d been lobbying for the reopening of the center. “It’s an opportunity to showcase the entrepreneurship and creative spirit of this ‘Harlem of the West’ and the ‘Rebirth of the Cool,’ grounded in our uniquely gifted Fillmore community.”

This month, through its Office of Economic and Workforce Development, the city will begin renting the building’s noncommercial spaces for pop-up events celebrating local talent, arts, and entertainment primarily centered in the Fillmore.

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Activism

Art of the African Diaspora Celebrates Legacy and Community at Richmond Art Center

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996.

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‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.
‘Be Still...’ by Virginia Jourdan is on display at the Richmond Art Center (RAC), in Richmond, CA. Photo by Carla Thomas.

By Carla Thomas

The 2026 Art of the African Diaspora exhibition is on display at the Richmond Art Center (RAC) through March 14. The one-room gallery bursts with more than 100 works – paintings, photographs, sculptures, and mixed-media pieces – each affirming the power, beauty, and vitality of cultural expression across the African diaspora.

Now in its 29th year, Art of the African Diaspora is the Bay Area’s longest-running exhibition of its kind. Its roots stretch back to 1989, when artist and educator Marie Johnson Calloway founded Colors of Black, a salon for African American artists. That gathering inspired artists Jan Hart-Schuyers and Rae Louise Hayward to establish The Art of Living Black at the Richmond Art Center in 1996. Their vision was to showcase the creativity of emerging and established Black artists, bridging communities and widening access to audiences historically excluded from mainstream art spaces.

Over the decades, that founding vision has expanded and evolved, carried forward by artists, family members, and the Richmond Art Center after the loss of Hart-Schuyers and Hayward. In 2018, a new generation of artists formed a steering committee to organize the event; a year later, the exhibition was renamed Art of the African Diaspora to embrace the broader global connections of people of African descent.

The new name reflects not only a broader cultural lens but also an empowered community network that supports artists across the Bay Area. As part of this year’s programming, RAC will host ‘Art of the African Diaspora: Public Art in Our Communities,’ a free panel on Sat., Feb. 21, from 12 to 1:30 p.m. Artists Kristine Mays, James Moore, and Malik Seneferu will join arts administrator Denise Pate for a conversation on the impact and process of public art. The discussion will be moderated by longtime arts advocate and producer Flo Wiley.

Each panelist brings a distinctive voice to the conversation. Mays, known for her ethereal wire sculptures that capture movement and spirit, has exhibited internationally and is represented in collections ranging from the Smithsonian to the Crocker Art Museum.

Sculptor and painter James Moore creates abstract metal works and colorful field paintings that explore movement, balance, and emotion. His recent public art installations include large-scale pieces in Richmond’s Shields-Reid Park. Malik Seneferu, a self-taught San Francisco native, has built a large body of work celebrating African American life through vibrant murals and expressive figurative art.

Representing the institutional side, Denise Pate oversees public arts investments as director of Community Investments at the San Francisco Arts Commission, advancing racial and cultural equity through funding and advocacy. Together, these artists and administrators will trace how public art emerges, from concept to community collaboration, and why it matters.

The Art of the African Diaspora exhibition runs through March 14 at the Richmond Art Center, 2540 Barrett Ave., Richmond. The center is open Wednesday through Saturday from 10 a.m. to 4 p.m. Admission and programs are free and open to the public.

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