Art

Myrna Gates once volunteered at Magic City Art Connection; last week she won award of distinction

THE BIRMINGHAM TIMES — Myrna Gates is a long-time Magic City Art Connection (MCAC) supporter: she’s attended for more than a decade, first as a visitor then a volunteer. This year was her first time as an artist at the event.

Published

7 years ago

May 2, 2019

Oakland Post

By Ameera Steward

Myrna Gates is a long-time Magic City Art Connection (MCAC) supporter: she’s attended for more than a decade, first as a visitor then a volunteer. This year was her first time as an artist at the event.

“I [used] to walk around and talk to these artists, and I would always want to be there, but [some years] I didn’t have enough money for the application fee. Something … [would always] keep me from doing it.”

A couple of years ago she wanted to present her artwork so badly at the MCAC that she chose to volunteer because she had missed the deadline [to enter the festival].

“I just wanted to be a part,” Gates said. “The whole time I was [volunteering], I was … trying to keep myself from crying because I knew I wasn’t supposed to be out there volunteering. I was supposed to be out there as an artist, not just a volunteer.”

“Blue Bayou”

Gates, 53, from Birmingham’s Wenonah community, was at the MCAC last weekend, but not as a visitor or volunteer—she was among the 200-plus juried artists from Alabama and across the U.S. who gathered in Linn Park to display a broad range of art mediums and styles.

Gates said the festival was “awesome from the very first day …I sold several paintings, I got so many commissions, so many people who wanted me to do paintings for their offices, or their living rooms… It was 100 times more than what I expected and that’s all the way around…from the people to the artists that you meet…that was beautiful…meeting other artists from different states and they tell you how they travel, how they just go from show to show.”

On Friday, she won an Award of Distinction. “I knew they’d give awards away but I never thought I would win, it wasn’t even in my mind the whole time…so when that gentleman called my name, I literally took off running…I was yelling and screaming and that reaction also made people like me, they just thought that was so cool…people were just coming up to me the next day and…saying ‘you were so happy.’”

Because it was her first year as a participant, she looked forward to presenting her “Blue Bayou” collection.

“My first set of ‘Blue Bayou’ paintings, a collection of all-blue, more of an ocean scene with waves, [was inspired by a fear] I always had about painting with the color blue. I don’t know why I was always scared of it, so I named the collection ‘Blue Bayou,’ meaning sad, but they turn out so beautiful. It’s my favorite go-to color,” Gates said of the blue-themed paintings she began working on in March.

“I stretch my own canvas, so I buy wood and all the materials and begin the process of what size and how many,” she said.

Gates paints in layers, so she can work on a painting for a week to a couple of months: “[It] all depends on when I feel like it is finished. … [Something just] lets me know when it’s finished.”

“Spreading Happiness”

Gates said it’s important that people “see my art and go, ‘Wow!’ I want to spark a conversation. I want people to talk about it. I want [my paintings] to be so touching that [people] want to buy [them].”

“If they look at [the painting] every day, I want it to bring happiness. That’s why I paint. … Maybe it’s my own little way of spreading happiness.”

Gates has always enjoyed painting, but she got serious about it about 15 years ago, when she helped her son, Eric, with an art project during his time as a student at Birmingham’s George W. Carver High School. Her son also had the opportunity to meet Kerry James Marshall, a Birmingham native who is renowned for “his paintings, installations, and public projects … often drawn from African-American popular culture and … rooted in the geography of his upbringing,” according to art21.org.

“I took my son to the meeting [with Marshall], but I didn’t know I was going to get inspired,” Gates said.

Marshall spoke to young people and their parents at the Birmingham Museum of Art. He explained that when he was young and went to art museums, all the paintings seemed to be for whites, so he chose to incorporate black characters into his artwork. Gates was intrigued by Marshall’s lecture.

“It struck something in me because that’s what I saw when I went to to art museums, too,” she said. “[I] went to art museums all the time, but I never saw black figures.”

She often creates her best pieces when she is angry about an issue, Gates said.

“I do some of my best work when I’m upset and what I paint is about racism or inequality or [things] not being fair,” she said, adding that those sentiments inspired her new series, titled “Not Our Kind.”

“I have been in positions [in which I felt that] ‘I’m not their kind,’ … so I stopped trying to be part of the group,” Gates said. “I became my own self and then I found abstract.”

Her objective is to make people look: “I want you to see something. … I want you to find something,” she said.

“Loud and Proud”

Gates, who is self-taught, said she also wants children to see more black artists.

“When you go to [some] festivals, we’re not there. We’re not represented,” she said. “That was one of the reasons I [said to myself], ‘You have to fight [to be part of the festivals]. You have to do whatever you have to do. I don’t care. You have to be [at the MCAC] this year. … Your voice means something. Say something. If you want to change [the fact that we’re not represented], change it. If you want to do it, do it. You be the one to step up and do it.’

“So, I said, ‘I’m going to be there. I’m going to be loud and proud and just say, Hey I am here. I’m representing Birmingham. I’m representing my black community.’”

Gates didn’t start selling her paintings until her children started encouraging her.

“They were like, ‘Ma, your stuff looks just as good as these other people’s stuff. You need to sell it,’” she said.

Gates did her first art show at Avondale Park in 2015 with 10 paintings—and she sold out: “I’ve been selling ever since,” she said, adding that she is inspired by the people who came before her and she wants to inspire others.

Graffiti

Gates appreciates a broad range of art styles, but graffiti is one of her passions.

“A lot of people don’t want words in their paintings, but they accept the words if it’s graffiti,” she said. “I want to do graffiti like … Jean-Michel Basquiat, [a renowned New York City artist who died at age 27]. I love his graffiti and just listening to his story. [I’m] also very inspired when I listen to others, people who are artists and have a story to tell about how they struggled before they made it big. … Even if I never make it big, big I’m happy.”

This article originally appeared in The Birmingham Times.

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

Published

3 days ago

February 9, 2026

Oakland Post

‘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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‘I Was There Too’ Reveals the Hopes, Dangers of Growing Up in The Black Panther Party

On July 20, at the Oakland Museum of California’s Spotlight Sundays, Gabriel, the daughter of a Black Panther Party couple, Emory Douglas, minister of culture, and artist-educator, Gayle Asalu Dickson, gave a raw personal view of being raised in the middle of the Black Power Movement.

Published

6 months ago

August 11, 2025

Oakland Post

At the Oakland Museum of California, Emory Douglas, previously the Black Panther Party Minister of Culture, poses with his daughter artist Meres-Sia Gabriel, creator of the “I Was There Too” multimedia production. Photo by Carla Thomas.

By Carla Thomas

Chronicles of the Black Panther Party are often shared from the perspectives of Huey Newton, Bobby Seale, Angela Davis, or Kathleen Cleaver. However, the view from a Panther’s child was unique on stage as Meres-Sia Gabriel performed, “I Was There Too.”

Gabriel took the audience on her tumultuous journey of revolution as a child caught between her mother’s anger and her father’s silence as the Party and Movement were undermined by its enemies like the COINTELPRO and the CIA.

Gabriel remembers her mom receiving threats as the Party unraveled and the more lighthearted moments as a student at the Black Panther Party’s Community School.

The school was a sanctuary where she could see Black power and excellence in action.

It was there that she and other children were served at the complimentary breakfast program and had a front row seat to the organization’s social and racial justice mission, and self-determination, along with the 10-point platform where the party fought for equality and demanded its right to protect its community from police brutality.

On her journey of self-development, Gabriel recounted her college life adventures and transformation while immersed in French culture. While watching television in France, she discovered that her father had become a powerful post-revolution celebrity, sharing how high school and college-age youth led a movement that inspired the world.

Through family photographs, historical images projected on screen, personal narratives, and poetry, Gabriel presented accounts worth contemplating about the sacrifices made by Black Panther Party members. Her performance was backed by a jazz trio with musical director Dr. Yafeu Tyhimba on bass, Sam Gonzalez on drums, and pianist Sam Reid.

At the Oakland Museum of California, Amy Tharpe, Ayanna Reed, artist Meres-Sia Gabriel and Kenan Jones at the meet-and-greet after the “I Was There Too” multimedia production. Photo by Carla Thomas.

Gabriel’s poetry is featured in the “Black Power” installation at the Oakland Museum of California, and her father’s book, “Black Panther: The Revolutionary Art of Emory Douglas,” features her foreword. She accompanied her father on tour exhibiting his artwork from the Panther Party’s publication as Minister of Culture.

Gabriel considers her work as a writer and performer a pathway toward self-reflection and personal healing. While creating “I Was There Too,” she worked for a year with the production’s director, Ajuana Black.

“As director, I had the opportunity to witness, to create, to hold space with tenderness and trust,” said Black. “Her performance touched my soul in a way that left me breathless.”

With over two decades of musical theater experience, Black has starred in productions such as “Dreamgirls” as Lorrell and “Ain’t Misbehavin’s” Charlene. She also performs as the lead vocalist with top-tier cover bands in the Bay Area.

During the post-performance meet-and-greet in the (OMCA) Oakland Museum of California garden, Gabriel’s father posed for photos with family and friends.

“I am proud of her and her ability to share her truth,” he said. “She has a gift and she’s sharing it with the world.”

Shona Pratt, the daughter of the late BPP member Geronimo Pratt, also attended to support Gabriel. Pratt and Gabriel, known as Panther Cubs (children of the Black Panther Party), shared their experience on a panel in Richmond last year.

“Meres-Sia did a great job today,” said Pratt. “It was very powerful.”

Meres-Sia Gabriel was born and raised in Oakland, California. A graduate of Howard University in Washington, D.C., and Middlebury College School in France, Gabriel serves as a French instructor and writing coach.

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The Past and Future of Hip Hop Blend in Festival at S.F.’s Midway

“The Music and AI: Ethics at the Crossroads” panel featured X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Adisa Banjoko of 64 Blocks and Bishop Chronicles podcast, and Julie Wenah, chairwoman of the Digital Civil Rights Coalition.

Published

6 months ago

August 11, 2025

Oakland Post

At the inaugural SF Hip Hop festival at The Midway in San Francisco panelists X.Eyee, CEO of Malo Santo and senior advisor for UC Berkeley’s AI Policy, Sean Kantrowitz, director of media and content @Will.I.A.’s FYI, Julie Wenah, chairwoman of the Digital Civil Rights Coalition, and Adisa Banjoko, of 64 Blocks and Bishop Chronicles podcast pose together. Photo by Carla Thomas

By Carla Thomas

“Cultural Renaissance,” the first-ever SF Hip-Hop conference, occurred at The Midway at 900 Marin St. in San Francisco on July 18 and 19. Held across three stages, the event featured outdoor and indoor performance spaces, and a powerful lineup of hip-hop icons and rising artists.

Entertainment included Tha Dogg Pound, celebrating their 30th anniversary, Souls of Mischief, and Digable Planets. “Our organization was founded to preserve and celebrate the rich legacy of Hip-Hop culture while bringing the community together,” said SF Hip-Hop Founder Kamel Jacot-Bell.

“It’s important for us to bring together artists, innovators, and thought leaders to discuss how hip-hop culture can lead the next wave of technological and creative transformation,” said Good Trouble Ventures CEO Monica Pool-Knox with her co-founders, AJ Thomas and Kat Steinmetz.

From art activations to cultural conversations, the two-day event blended the intersections of AI and music. Panels included “Creative Alchemy – The Rise of the One-Day Record Label,” featuring producer OmMas Keith, composer-producer Rob Lewis, AI architect-comedian Willonious Hatcher, and moderator-event sponsor, AJ Thomas.

“The Legends of Hip-Hop and the New Tech Frontier” panel discussion featured hip-hop icon Rakim, radio personality Sway, chief revenue officer of @gamma, Reza Hariri, and music producer Divine. Rakim shared insights on culture, creativity, and his A.I. start-up NOTES.

“AI is only as good as the person using it,” said Rakim. “It cannot take the place of people.”

Rakim also shared how fellow artist Willonious helped him get comfortable with AI and its power. Rakim says he then shared his newfound tool of creativity with business partner Divine.

The panel, moderated by the Bay Area’s hip-hop expert Davey D, allowed Divine to speak about the music and the community built by hip-hop.

“Davey D mentored me at a time when I had no hope,” said Divine. “Without his support, I would not be here on a panel with Rakim and Willonious.”

Hatcher shared how his AI-produced BBL Drizzy video garnered millions of views and led to him becoming one of Time magazine’s 100 most influential AI creators.

“Diverse teams solve important questions such as: ‘How do we make sure we bring diverse people to the table, with diverse backgrounds and diverse lived experiences, and work together to create a more culturally sound product,’” said Wenah.

Self-taught developer, X.Eyee said, “You have to learn the way you learn so you can teach yourself anything. Future jobs will not be one roadmap to one individual skill; you will be the orchestrator of teams comprised of real and synthetic humans to execute a task.”

Activist Jamal Ibn Mumia, the son of political prisoner Mumia Abu Jamal, greeted Black Panther Party illustrator Emory Douglas, who was honored for his participation in the Black Power Movement. Douglas was presented with a statue of a black fist symbolizing the era.

“It’s an honor to be here and accept this high honor on behalf of the Black Panther Party,” said Douglas, holding the Black Power sculpture. “It’s an art (my illustrations) that’s been talked about. It’s not a ‘me’ art, but a ‘we’ art. It’s a reflection of the context of what was taking place at the time that inspired people.

“To be inspired by is to be in spirit with, to be in spirit with is to be inspired by, and to see young people continue on in the spirit of being inspired by is a very constructive and powerful statement in the way they communicate,” Douglas said.

His work embodied the soul of the Black Panther Party, and as its minister of culture and revolutionary artist, he definitely keeps the Panther Party soul alive, and his work is everywhere.

“Brother Emory Douglas is an icon in the community,” said JR Valrey of the Block Report.

“Fifty years later, he’s still standing,” said Ibn Mumia, raising his fist in the traditional Black Power salute.

“Emory is a living legend and so deserving of this award,” Valrey said. “We have to honor our elders.”