University Museum at Texas Southern Permanent Collection
Title
University Museum at Texas Southern Permanent Collection
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Biggers’ drawing shows a woman and her reflection. The woman, positioned on the left side of the composition, looks slightly back over her left shoulder, while the sun creeps out from around her midsection. The woman is cradling a baby in her arms. Her reflection is drawn loosely with minimal details, and the two are separated by a line of plant and fish shapes.
Woodruff’s portrait depicts Martin Luther King Jr., the iconic civil rights leader who was assassinated in 1968. Woodruff taught art at Atlanta University for 15 years and perhaps came into contact with MLK during this time. Two of these three side profiles appear to show King smiling, while in the third he is looking away with a serious expression. Woodruff's Art of the Negro murals at Clark Atlanta University are one of his crowning achievements.
Ellison’s painting reflects the brutality and grief experienced by the Black community. In the foreground, a skull is pierced by the American flag. On the right side, a headstone honoring Martin Luther King, Jr. is surrounded by nude mourners. In the background, a shadowy dove spreads its wings, perhaps representing MLK’s dream of peace being obscured by white supremacist violence.
This unknown student’s bust was created during their time as an art student at TSU. Under the instruction of Professor Carroll Harris Simms, artists would create self-portraits embellished with decorations like spirals and accentuated crown pieces, like in this sculpture. These busts are inspired by Nok terracotta sculptures and Ife busts, which Simms saw during his travels to Western Africa. This bust is different from others due to its black ceramic and large rectangular base.
Etienne created her painting, “Dancing Still Life,” as part of a class assignment based on objects within her home. Etienne selected these figures, which her mother collected from the National Museum of African American History & Culture, white orchids in a blue pot, and a glass dish from her grandmother's home. A graduate from Texas Southern University, Etienne emphasizes femininity, movement, and flowers in her art.
Jafar’s terracotta depicts a mother figure carrying her child on her back. The exterior of the sculpture is smooth and lacking any of the motifs that are normally featured on Texas Southern students’ terracottas, perhaps suggesting the sculpture was left unfinished. The mother and child relationship is one of the most frequently featured themes in the artwork of students of Dr. Biggers and Professor Simms.
“Shrine,” by Curtis Watson Jr., features a duck-like creature surrounded by various embellishments, including spirals, a commonly used visual motif in the student terracottas. Unfortunately, the head of the figure is missing, leaving only the body in view. The full sculpture can be seen in archival photos shot by Dr. John T. Biggers of the artist at work.
This painting, created by an unknown TSU art student, depicts the base of a tree or wooden telephone pole, with various smaller plants and vines creeping up its structure. Dr. John T. Biggers encouraged students to study the natural world and seek inspiration from it. He instructed students to sit outside for an extended period of time and observe.
This drawing by Dr. John T. Biggers depicts a family caught up in a wild storm that is swirling around them. Biggers' artwork frequently highlights family dynamics and the centrality of mothers. Biggers appears to have later repurposed this sketch and added additional floral details to create his 1992 print Metamorphosis III.
Gordon's painting reflects the work life of cotton harvesters. The three pictured laborers are older and formally dressed as they pick cotton bolls and carry baskets. Many of the cotton plants are shown with white flowers, an early stage in the plant’s development. This suggests Gordon may be familiar with the process of cotton farming and harvesting.
Settles' painting shows a Black man abused by a group of 5 police, while a group looks on in the background. This painting reflects frustration with police brutality and racism towards the Black community. Settles replicated this image (of the police surrounding the man) in another of his paintings with a different, more abstract background.
Tinker’s drawing shows three children lounging around a fallen tree. The two girls are depicted with elongated limbs, and the rightmost girl also has oversized hands. Dr. Biggers influenced his students to draw the hands and feet of their subjects in great detail and disproportionately large. This style continues to be taught to and implemented in the works of TSU artists in the 21st century.
Hals’ drawing shows two women chatting on the street. Their environment, filled with shotgun homes and tall grass, resembles Houston’s Third Ward, the historically Black neighborhood that Texas Southern University calls home. TSU art students, at Dr. Biggers’ instruction, often looked to their surroundings for inspiration.
Walker’s bust was created during his time as an art student at TSU. Under the instruction of Professor Carroll Harris Simms, artists would create self-portraits embellished with textures, like those seen in the hair of this sculpture. While most were made from terracotta clay, this one is made from plaster. These busts are inspired by Nok terracotta sculptures and Ife busts, which Simms saw during his travels to Western Africa.
This maquette, created by an unknown Texas Southern University art student, shows a feline creature at attention. There are various swirl patterns and textures on the figure. The swirls are a required component for the maquette project, as Carroll Harris Simms pushed his students to richly embellish their works.
Charoennimuang’s print shows three women wearing babies on their backs and carrying baskets atop their heads. Two of the women’s faces are turned away from the viewer, while the closest gazes back fiercely. All three women’s hair is braided. This print highlights some of the varied and essential types of labor that women carry out.
Settles, a student of Carroll Harris Simms, created the sculpture “Camel” in 1978. The creation of a large terracotta sculpture was a part of each art student's curriculum. The design features include a huge hump and embellishments, including spirals, on the exterior. Sculptures lacking sufficient ornamentation were often not retained for the collection.
This large, brown ceramic plate created by Carroll Harris Simms features multiple textures, including a bubbling glaze covering most of the top of the piece. Simms worked alongside Dr. John T. Biggers to build Texas Southern's art department from the ground up. Simms' decorative artworks remain in high demand by collectors.
This large ceramic plate created by Carroll Harris Simms features multiple textures, including a bubbling glaze covering most of the top of the piece. Simms worked alongside Dr. John T. Biggers to build Texas Southern's art department from the ground up. Simms' decorative artworks remain in high demand by collectors.
Oliver’s painting depicts a young boy sitting on the stump of a tree. The boy is barefoot and wearing a contemplative expression on his face. Oliver’s style in this painting is very free-form, with quick and abrupt brushstrokes throughout the composition. Oliver is one of the most successful art graduates from TSU, going on to be the only North American artist to design scarves for the fashion house Hermes.
This painting by Charlene Claye shows a group of three people, including at least two women, fishing by a pond. This painting highlights one of the many types of labor Black women perform to support their families and communities. The broad, blue strokes extend a sense of timelessness and depth.
Mills' painting is a portrait of an unknown woman, dressed conservatively in a turtleneck, with short hair and a pearl earring. As a part of the art curriculum, students are required to create portraits during elementary painting. Many of Mills’ pieces share this painting’s muted and dark color palette. Some of Mills’ classmates recall him being color-blind, perhaps partly explaining these color choices.
This radiant work by Oliver Parson engulfs the viewer in the spiraling flow of a smiling woman's silky headwrap. The headwrap is a fashionable method of hair protection and expression of identity that is shared among women across the African diaspora.
Erma Gordon’s “Bison” sculpture includes two-toned clay with a smooth finish on the body. The hair of the bison is carefully sculpted on the top of its body, lending a realistic, soft texture. The artist depicted herself creating this sculpture in her Hannah Hall mural. Wildlife are frequent subjects of TSU student terracottas.
This abstract work features three distorted cows’ faces that seem to be staring upwards and at the viewer, against a colorful triangular background. Vital was an art student at Texas Southern and later went on to become a faculty member in the art department. Many works in the school’s collection, particularly from the 1970s, use cubist styles.
Elizabeth Montgomery Shelton’s terracotta is made up of a variety of colored clays with embellishments that have been painted using black and tan slips. The top half includes layers of plates extending out from the surface, while the bottom half is evenly decorated with pressed circular clay. The structure perhaps mimics an instrument or a bird feeder.
Remble's drawing portrays renowned Mardi Gras Indian chief David Montana. Mardi Gras Indians refers to Black New Orleanians who draw from Creole, Indigenous, African, and Afro-Caribbean tradition to develop a unique form of visual culture and resistance. Remble, a Texas Southern graduate, was born in New Orleans and later moved to Houston. In his own words, he aims to "explore and preserve the diverse subcultures of the American South" through his art.
Samples’ painting is a self-portrait. During the elementary painting course, Texas Southern art majors are required to paint self-portraits. Samples’ classmates recall being intimidated and inspired by his talent and work pace when they sat next to him in the studio. Samples was one of the founders of Houston’s Project Row Houses and now works as an art conservator at the Museum of Fine Arts, Houston.
This Biggers print shows a figure playing a balafon, with a sankofa bird overhead. The balafon is a West African percussion and the sankofa bird signifies the importance of the past in improving the future. Taken together, they show the importance of music in preserving culture.
Michaux’s painting shows a nude woman draped with jewelry from her ears, neck, and arms. In her right hand, she holds a branch with leaves; a small flame extends from her left hand, above her head. After graduating from Texas Southern, Michaux went on to teach art at several universities, including HBCUs Southern University, North Carolina Central University, and South Carolina State University.
