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Luis Peralta Del Valle’s Solo Show Instills Love, Hope and Art

WASHINGTON INFORMER — When one drives or walks through the neighborhoods in the District, colorful murals jump off building walls, making the city a prettier, more art-filled place. Chances are, many of those murals are by 38-year old artist Luis Peralta Del
Valle.This month, the artist, who started tagging walls as a graffiti artist in his teens, was selected for a solo show at the Anacostia Arts Center.

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One of the pieces in Luis Peralta Del Valle's solo show (Courtesy photo)

By Eve M. Ferguson

When one drives or walks through the neighborhoods in the District, colorful murals jump off building walls, making the city a prettier, more art-filled place. Chances are, many of those murals are by 38-year old artist Luis Peralta Del Valle.

This month, the artist, who started tagging walls as a graffiti artist in his teens, was selected for a solo show at the Anacostia Arts Center.

“Out of Chaos,” as the show is titled, is rife with deep meanings, symbols and pays homage to the artist’s roots, incorporating graffiti and other elements that point to street and public art. Particularly noticeable is the “canvas” he chooses — repurposed streets signs layered with recycled paper and U.S. Postal stickers.

“Road signs usually warn us about danger,” he said. “As a graffiti artist, I would usually do art on them — tag them or put stickers on them. When you see a warning sign, it usually tells you not to do something negative — stop, yield, don’t go left. I decided to put iconic and unknown figures on them.”

The realistic, classical portraiture of people who have overcome great setbacks or made great strides are painted on top the road signs in their original diamond shape and bright orange background. Other paintings are traditional canvases, but hide graffiti tags in the backgrounds. Iconic figures such as Katherine Johnson of “Hidden Figures” fame, ballerina Misty Copeland, the late artist Michael Platt and the “Father of Go-Go” Chuck Brown are the subjects of many of the works.

“‘Out of Chaos’ speaks to the human experience that a lot of African Americans and Hispanics go through — and other ethnicities go through — we live in this chaotic world and we have a lot of negative things going on,” said Del Valle, who was born in Nicaragua and spent time in refugee camps before coming to the District in his teens.

“But in these bad situations there have always been people that overcame these chaotic situations in their lives and actually excelled in their careers or whatever they do professionally,” he said.

The centerpiece life-size portrait of Misty Copeland hung on the far wall from the entrance, is majestic in its scale and grandeur, capturing the ballerina with an expression that is both regal and defiant.

“One of the great things that I came across, which I used in the Misty Copeland portrait, ‘Grace’ is a new technique. I always had these disposable plates with dried up paint because that is what I use as a palette. I put my paint on the plate and I use them. A lot of paint just dries up. I never wanted to throw them away, but I never knew what to do with this dried up paint,” Del Valle continued.

“Then one day I said, ‘my hands are really hurting. What can I do to create without using a brush so I don’t have to use my tendons?’” he said. “I got the idea to start scraping the paint off the disposable plates and adding it to my canvases. What that did was add more dimension to my canvases and I was able to add texture and at the same time add dimension to them. It took my art to a whole different level, and that is something I would have never found out if I had not had that tragedy.”

Del Valle found beauty in his tragic events, and sought to bring that element out — triumph over tragedy — in his portraits.

“Misty Copeland also broke some barriers as a ballerina,” Del Valle said. “She also came from poverty and struggles. As ballerinas, people of color were thought they could never reach the highest heights, but she is now principal ballerina. That is a door that she knocked down so that other young girls could follow her lead.”

The use of the street signs reflects a “transfiguration from one symbolic vocabulary to a new one rooted in love, hope and art. Visions of strength, determination, prosperity and beauty are created using refined elements of traditional portraiture and the embedding of positive messages,” according to his artist’s statement.

Other subjects are less known publicly, but no less vital to the message that Del Valle is trying to relay: “figures who have converted their pain, challenges and frustration into purpose.”

According to the artist, “they not only transformed their lives, but influenced the lives of others for generations.”

One with great meaning to Del Valle is Michael Freeman, whose introspective portrait faces “Grace” across the long gallery space. Freeman, like Del Valle, is a Southeast resident.

“Pastor Mike Freeman, Apostle Freeman now, is the lead pastor at Spirit of Faith Christian Center — he’s been very instrumental in my life recovering from depression and anxiety that were caused by a car accident back in 2016,” Del Valle said. “I was in a place where I couldn’t really paint like I used to — for 12-14 hours a day without even missing a heartbeat. But in the car accident, I injured my hands, my neck, my shoulders … pretty much everything that an artist needs. Every time I would paint, my tendons would burn. They gave me OxyContin for painkillers and medicine for muscle spasms. It was the worst thing for me. It made me suicidal and very depressed.”

Not only did Freeman help Del Valle recover from his darkest hours, but also he had experienced similar trauma, having had medical issues that resulted in the pastor being in a coma. He was paralyzed, and those other people who had similar conditions did not survive. However, through prayers and the care of his wife, he recovered.

“I kept trying to paint, doing what I could do, sometimes 30 minutes a day because what else am I supposed to do? I am a full-time artist,” Del Valle said.

“Out of Chaos” is on view at the Anacostia Arts Center (1231 Good Hope Road SE) through Nov. 15. Del Valle’s murals can be seen throughout the city at Savoy, Roosevelt, Watkins, Hyde Addison, Garrison, Bancroft and Lafayette elementary schools, as well as Langston Place Apartments, Sisters City Project and Children’s National Medical Center.

Del Valle is the recipient of numerous arts awards, including the 2015 National Museum of Catholic Art and Library Award and the 2013 East of the River Distinguished Artist Award. In 2017, he was honored with the NCIS Director’s Coin by NCIS Director Andrew L. Traver. More information can be found on his website, www.LuisPeraltaGalelry.com.

This article originally appeared in The Washington Informer.

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Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87

NNPA NEWSWIRE — Louis Gossett Jr., the groundbreaking actor whose career spanned over five decades and who became the first Black actor to win an Academy Award as Best Supporting Actor for his memorable role in “An Officer and a Gentleman,” has died. Gossett, who was born on May 27, 1936, in Brooklyn, N.Y., was 87. Recognized early on for his resilience and nearly unmatched determination, Gossett arrived in Los Angeles in 1967 after a stint on Broadway.
The post Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87 first appeared on BlackPressUSA.

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By Stacy M. Brown
NNPA Newswire Senior National Correspondent

@StacyBrownMedia

Louis Gossett Jr., the groundbreaking actor whose career spanned over five decades and who became the first Black actor to win an Academy Award as Best Supporting Actor for his memorable role in “An Officer and a Gentleman,” has died. Gossett, who was born on May 27, 1936, in Brooklyn, N.Y., was 87. Recognized early on for his resilience and nearly unmatched determination, Gossett arrived in Los Angeles in 1967 after a stint on Broadway.

He sometimes spoke of being pulled over by law enforcement en route to Beverly Hills, once being handcuffed to a tree, which he remembered as a jarring introduction to the racial tensions of Hollywood. In his memoir “An Actor and a Gentleman,” Gossett recounted the ordeal, noting the challenges faced by Black artists in the industry. Despite the hurdles, Gossett’s talent shone brightly, earning him acclaim in groundbreaking productions such as “A Raisin in the Sun” alongside Sidney Poitier. His Emmy-winning portrayal of Fiddler in “Roots” solidified his status as a trailblazer, navigating a landscape fraught with racial prejudice.

According to the HistoryMakers, which interviewed him in 2005, Gossett’s journey into the limelight began during his formative years at PS 135 and Mark Twain Junior High School, where he demonstrated early leadership as the student body president. His passion for the arts blossomed when he starred in a “You Can’t Take It With You” production at Abraham Lincoln High School, catching the attention of talent scouts who propelled him onto Broadway’s stage in “Take A Giant Step.” His stellar performance earned him the prestigious Donaldson Award for Best Newcomer to Theatre in 1952. Though initially drawn to sports, Gossett’s towering 6’4” frame and athletic prowess led him to receive a basketball scholarship at New York University. Despite being drafted by the New York Knicks in 1958, Gossett pursued his love for acting, honing his craft at The Actors Studio under the tutelage of luminaries like John Sticks and Peggy Fury.

In 1961, Gossett’s talent caught the eye of Broadway directors, leading to roles in acclaimed productions such as “Raisin in the Sun” and “The Blacks,” alongside legends like James Earl Jones, Cicely Tyson, Roscoe Lee Brown, and Maya Angelou. Transitioning seamlessly to television, Gossett graced small screens with appearances in notable shows like “The Bush Baby” and “Companions in Nightmare.” Gossett’s silver screen breakthrough came with his role in “The Landlord,” paving the way for a prolific filmography that spanned over 50 movies and hundreds of television shows. From “Skin Game” to “Lackawanna Blues,” Gossett captivated audiences with his commanding presence and versatile performances.

However, his portrayal of “Fiddler” in Alex Haley’s groundbreaking miniseries “Roots” earned Gossett critical acclaim, including an Emmy Award. The HistoryMakers noted that his golden touch extended to the big screen, where his role as Sergeant Emil Foley in “An Officer and a Gentleman” earned him an Academy Award for Best Supporting Actor, making him a trailblazer in Hollywood history.

Beyond the glitz and glamour of Hollywood, Gossett was deeply committed to community activism. In 1964, he co-founded a theater group for troubled youth alongside James Earl Jones and Paul Sorvino, setting the stage for his lifelong dedication to mentoring and inspiring the next generation. Gossett’s tireless advocacy for racial equality culminated in the establishment of Eracism, a nonprofit organization dedicated to combating racism both domestically and abroad. Throughout his illustrious career, Gossett remained a beacon of strength and resilience, using his platform to uplift marginalized voices and champion social change. Gossett is survived by his children, Satie and Sharron.

The post Beloved Actor and Activist Louis Cameron Gossett Jr. Dies at 87 first appeared on BlackPressUSA.

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COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration

WASHINGTON INFORMER — The D.C. crime bill and so many others like it are reminiscent of the ‘94 crime bill, which produced new and harsher criminal sentences, helped deploy thousands of police and surveilling methods in Black and brown communities, and incentivized more states to build prisons through a massive infusion of federal funding. While it is not at the root of mass incarceration, it significantly accelerated it, forcing a generation of Black and brown families into a never-ending cycle of state-sanctioned violence and incarceration.
The post COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration first appeared on BlackPressUSA.

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By Kaili Moss and Jillian Burford | Washington Informer

Mayor Bowser has signed the “Secure DC” omnibus bill passed by the D.C. Council last month. But we already know that this bill will be disastrous for all of D.C., especially for Black and brown residents.

While proponents claim that this legislation “will make D.C. residents safer and more secure,” it actually does nothing to address the root of the harm in the first place and instead maintains a cycle of violence, poverty, and broken community ties. The omnibus bill calls for increased surveillance, drug-free zones, and will expand pre-trial detention that will incarcerate people at a significantly higher rate and for an indeterminate amount of time before they are even tried. This bill will roll back decades of nationwide policy reform efforts and initiatives to keep our communities safe and whole, which is completely contradictory to what the “Secure” D.C. bill claims it will do.

What is unfolding in Washington, D.C., is part of a dangerous national trend. We have seen a resurrection of bad crime bills in several jurisdictions across the country — a phenomenon policy experts have named “zombie laws,” which are ineffective, costly, dangerous for communities of color and, most importantly, will not create public safety. Throwing more money into policing while failing to fund preventative measures does not keep us safe.

The D.C. crime bill and so many others like it are reminiscent of the ‘94 crime bill, which produced new and harsher criminal sentences, helped deploy thousands of police and surveilling methods in Black and brown communities, and incentivized more states to build prisons through a massive infusion of federal funding. While it is not at the root of mass incarceration, it significantly accelerated it, forcing a generation of Black and brown families into a never-ending cycle of state-sanctioned violence and incarceration. Thirty years later, despite spending billions each year to enforce these policies with many of these provisions remaining in effect, it has done very little to create long-term preventative solutions. Instead, it placed a permanent moving target on the backs of Black people, and the D.C. crime bill will do the same.

The bill calls for more pretrial detention. When our loved ones are held on pretrial detention, they are held on the presumption of guilt for an indeterminate amount of time before ever seeing a judge, which can destabilize people and their families. According to experts at the Malcolm Weimer Center for Social Policy at Harvard University, just one day in jail can have “devastating consequences.” On any given day, approximately 750,000 people are held in jails across the nation — a number that beats our nation’s capital population by about 100,000. Once detained, people run the risk of losing wages, jobs, housing, mental and health treatments, and time with their families. Studies show that pretrial detention of even a couple of days makes it more likely for that person to be rearrested.

The bill also endangers people by continuing a misguided and dangerous War on Drugs, which will not get drugs off the street, nor will it deter drug use and subsequent substance use disorders (SUDs). Drug policies are a matter of public health and should be treated as such. Many states such as Alabama, Iowa and Wisconsin are treating the current fentanyl crisis as “Crack 2.0,” reintroducing a litany of failed policies that have sent millions to jails and prisons instead of prioritizing harm reduction. Instead, we propose a simple solution: listen to members of the affected communities. Through the Decrim Poverty D.C. Coalition, community members, policy experts and other stakeholders formed a campaign to decriminalize drugs and propose comprehensive legislation to do so.

While there are many concerning provisions within the omnibus bill, car chases pose a direct physical threat to our community members. In July 2023, NBC4 reported that the D.C. Council approved emergency legislation that gave MPD officers the ability to engage in vehicular pursuits with so-called “limited circumstances.” Sgt. Val Barnes, the head of MPD’s carjacking task force, even expressed concern months before the decision, saying, “The department has a pretty strict no-chase policy, and obviously for an urban setting and a major metropolitan city, that’s understandable. If our law enforcement officers themselves are operating with more concern than our elected officials, what does it say about the omnibus bill’s purported intention to keep us safe?

And what does it mean when the risk of bodily harm is posed by the pursuit itself? On Saturday, Feb. 10, an Eckington resident had a near-miss as a stolen car barreled towards her and her dog on the sidewalk with an MPD officer in pursuit. What responsibility does the city hold if this bystander was hit? What does restitution look like? Why are our elected officials pushing for MPD officers to contradict their own policies?

Just a few summers ago during the uprisings of 2020, we saw a shift in public perspectives on policing and led to legislation aimed at limiting police power after the highly-publicized murders of loved ones Breonna Taylor and George Floyd — both victims of War on Drugs policing and the powers gained from the ’94 crime bill. And yet here we are. These measures do not keep us safe and further endanger the health of our communities.  Studies show that communities that focus on harm reduction and improving material conditions have a greater impact on public safety and community health. What’s missing in mainstream conversations about violent crime is the violence that stems from state institutions and structures that perpetuate racial and class inequality. The people of D.C. deserve to feel safe, and that includes feeling safe from the harms enacted by the police.

Kaili Moss is a staff attorney at Advancement Project, a national racial justice and legal organization, and Jillian Burford is a policy organizer at Harriet’s Wildest Dreams.

The post COMMENTARY: D.C. Crime Bill Fails to Address Root Causes of Violence and Incarceration first appeared on BlackPressUSA.

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Mayor, City Council President React to May 31 Closing of Birmingham-Southern College

THE BIRMINGHAM TIMES — “This is a tragic day for the college, our students, our employees, and our alumni, and an outcome so many have worked tirelessly to prevent,” Rev. Keith Thompson, chairman of the BSC Board of Trustees said in an announcement to alumni. “We understand the devastating impact this has on each of you, and we will now direct our efforts toward ensuring the smoothest possible transition for everyone involved.”
The post Mayor, City Council President React to May 31 Closing of Birmingham-Southern College first appeared on BlackPressUSA.

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By Barnett Wright | The Birmingham Times

Birmingham-Southern College will close on May 31, after more than a century as one of the city’s most respected institutions.

“This is a tragic day for the college, our students, our employees, and our alumni, and an outcome so many have worked tirelessly to prevent,” Rev. Keith Thompson, chairman of the BSC Board of Trustees said in an announcement to alumni. “We understand the devastating impact this has on each of you, and we will now direct our efforts toward ensuring the smoothest possible transition for everyone involved.”

There are approximately 700 students enrolled at BSC this semester.

“Word of the decision to close Birmingham Southern College is disappointing and heartbreaking to all of us who recognize it as a stalwart of our community,” Birmingham Mayor Randall Woodfin said in a statement. “I’ve stood alongside members of our City Council to protect this institution and its proud legacy of shaping leaders. It’s frustrating that those values were not shared by lawmakers in Montgomery.”

Birmingham City Council President Darrell O’Quinn said news of the closing was “devastating” on multiple levels.

“This is devastating for the students, faculty members, families and everyone affiliated with this historic institution of higher learning,” he said. “It’s also profoundly distressing for the surrounding community, who will now be living in close proximity to an empty college campus. As we’ve seen with other institutions that have shuttered their doors, we will be entering a difficult chapter following this unfortunate development …   We’re approaching this with resilience and a sense of hope that something positive can eventually come from this troubling chapter.”

The school first started as the merger of Southern University and Birmingham College in 1918.

The announcement comes over a year after BSC officials admitted the institution was $38 million in debt. Looking to the Alabama Legislature for help, BSC did not receive any assistance.

This past legislative session, Sen. Jabo Waggoner sponsored a bill to extend a loan to BSC. However, the bill subsequently died on the floor.

Notable BSC alumni include former New York Times editor-in-chief Howell Raines, former U.S. Sen. Howell Heflin and former Alabama Supreme Court Chief Justice Perry O. Hooper Sr.

This story will be updated.

The post Mayor, City Council President React to May 31 Closing of Birmingham-Southern College first appeared on BlackPressUSA.

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