PORTFOLIO GALLERY AND EDUCATION CENTER PRESENTS:
Robert Hale, photographer/journalist, as part of the American Arts Experience: St. Louis

WHERE:
Portfolio Gallery in Grand Center
3514 Delmar Boulevard, 63103.

WHEN:
Exhibit runs through November 30, 2011.

CONTACT:
314-533-3323
www.portfoliogallery@att.net

WHAT?

International photographer and journalist, Robert Hale's "Intimate Encounters: The African-Americans” presents portraits of people who have contributed to culture in their community at large.

WHO?

Robert Hale is one of the West Coast’s leading photographers. His work both as a photographer and as a journalist, has taken him on assignment throughout the world. His images are characterized by clarity and simplicity, with an extraordinary eye for light and shadows. Whether animate or inanimate, Robert feels his subjects have an inner essence, and, if handled with patience and sensitivity, this essence will reveal itself. His goal is to allow it to live in prints.

Robert, whose father is both a photographer and jazz pianist, developed his interest while still a boy growing up in Roanoke, Virginia. After graduating from high school and serving in Vietnam, he studied photography under Adrian Wagner and Hal Jordan at Los Angeles City College. He then moved to Sweden where he worked as a photographer in Stockholm. Upon his return to the United States in the mid 1970’s, he felt the need for greater security in his life and turned from photography to a career in advertising.

Although he spent the next 20 years building a successful career as an account executive, he describes this time as “years in which I had lost my courage.” It wasn’t until he reached his middle years that he determined to devote himself fully to passion of his youth. Since making that decision in 1996, his progress in the world of photography has been phenomenal.

Robert’s images have been printed in such publications as The New York Times, The Los Angeles Times, The Village Voice, The LA Weekly, Black Enterprise, and a variety of national and international publications. He is currently the Directors Guild of America’s photographer.

Mr. Hale has been proud to volunteer his photographic services to the Los Angeles Children’s Museum, Aids Project Los Angeles, LA Shanti, Aids service Center in Pasadena, California, as well as serving on the board of Directors for The Black Gallery Group, Los Angeles, California.

Portfolio Gallery Presents:
Robert Hale: Intimate Encounters – “The African-Americans”

1. Herbert Gentry
2. Louis Farrakan
3. Gordon Parks
4. Rosa Parks
5. Emma Amos
6. Vincent Smith
7. Esther Rolle
8. Albert Murray
9. Kehinde Wiley
10. Herbert Gentry
11. Samella Lewis
12. John Outterbridge
13. Artis Lane
14. Laura Mae Gross
15. Charles Searles
16. Robert M. Hale (Father)
17.Betye Saar
18. Ozzie Davis
19. Earl Ofori Hutchinson
20.Carrie Mae Weems

All Photographs $400.00 each

For Black History Month Edna organized a group show at Southern Illinois University. She titled the exhibit "Inclusion." Her artist statement defines inclusion as: "artists with different view points, ideas, and delivery come together to celebrate the arts. As people we are divided by race, gender, and a fixed set of biases, but the arts connect us all. Let's Celebrate!" This is aligned with my mission on Riehlife to create connections through the arts and across cultures.

Edna was one of nine artists chosen from 51 applicants to provide a cultural experience for travelers. Each artist designed design three glass panels for a total of nine triptychs to be displayed on concourses A and C. The panels are 65 inches high and 36 inches wide. You can read about this exciting "Airport Experience" project here.Edna will have a one person exhibit in Ottowa Canada from December 2- February 2012.

See Edna J. Patterson-Petty's work here.

Portfolio's "Visions 2010" is a group show featuring: Dean Mitchell, Lonnie Powell, Charles Bibbs, Dr. Carolyn L. Mazloomi, Nedra Bonds, Keina Davis Elswick and other fine artists.

Portfolio Gallery's "Visions" runs from October 1 through November 30, 2010. Last night I went to the opening reception. Many of the artists were present and available for extended conversations about their work. As usual there was a lively party atmosphere among new friends and old. St. Louis often feels like a big small town and that's a good thing because it builds deeper friendships.

Robert Powell as the founding executive director, an artist in his own right, and brother to Lonnie Powell, is the most convivial of hosts for this art party celebrating stunning and original work.

Definitely worth seeing and experiencing first hand.

___________________

Portfolio offers art class instruction for children, youth, adults and the physically and developmental disabled. Original African-American fine arts exhibits, lectures, workshops, seminars and gallery tours. Tours, 10 or more, $1.50. All tours are by appointment.

Hours: Monday, Wednesday, Friday, 9 a.m. - 5 p.m.; Tuesday & Thursday by appointment. Saturday 1pm-4pm

CONTACT

Portfolio Gallery & Educational Cente
3514 Delmar Blvd
St Louis, MO 63103-1003
(314) 533-3323
N Grand Blvd @ Franklin Ave.

The opening for the Zuka Arts Guild exhibit at St. Louis' Vaughn Cultural Center left us deeply satisfied.

"The Zuka Arts Guild seeks to promote knowledge of and participation in the visual arts through exhibitions, teaching programs, workshops, seminars and selected public art projects. The Guild is dedicated to artist development through inter-organizational skill sharing. Zuka will contribute to community educational and cultural enrichment through the promotion and exhibition of art executed by artists of all proficiency levels. The Guild is non-sectarian, non-partisan and non-profit." The Zuka Arts Guild brings together some of the best work of St. Louis African American fine artists.

See the biographies of all ten of the Zuka Arts Guild members.

My friend Joe LaMarque's artwork in in represented among the other fine artists.

A collaborative exhibit featuring the works of:

Kenneth Calvert
Andrea Hughes
Joseph LaMarque
Alfred Brooks
Ronald Young
Robert Campbell
Jean Brantley
Gundia Lock Clay

I just came back from viewing Lonnie Powell's show at the Porfolio Gallery and Education Center in St. Louis. Powell works in a variety of styles and media in his show "Still All Over the Place" that will be up through January 8th 2010.

Underpinning everything Powell does is a strong sense of structure provided by subtle and masterful drawing. He excels in portraits and offers an unusual perspective with views that are often from the ground up.

There's always feeling in his work. We're not just looking at an artist showing off his technical skills.

Contact Portfolio Gallery at:
3514 Delmar Blvd. St. Louis, MO 63103
Phone: (314) 533-3323.
Public Email: portfoliogallery@att.net

Lonnie Powell wrote me back with a good addendum to the original post.

Hi Janet,

Upwardly,
Lon Powell

Portfolio Gallery and Education Center's current show is 4 OF A KIND featuring the work of Anthony High, Keith Shepherd, Bonnye Brown and Edward Hogan, all artists from the Kansas City, Missouri and Kansas City, Kansas community. I had the pleasure to interview Keith Shepherd about his work and creative life that we share with you below.

You can see Keith's work (and Bonnye's and Edward's, and Anthony's) at Porfolio, 3514 Delmar Blvd. St. Louis, MO 63103 Phone: (314) 533-3323 URL: www.portfolio-stl.com.

"Jelley's Last Jam" by Keith Shepherd

RIEHLIFE:Tell us about your show at Portfolio. How many pieces? Titles? Subjects? How were they chosen?

KEITH: Janet, the Portfolio Gallery '4 OF A KIND' exhibit is a dream come true! I couldn't have prayed to be involved with a more talented bunch of artists like Ed, Bonnye and Anthony!

I have 10 pieces here, the most I've ever shown in one place. This body of work relates subjects from pop culture: DAMN! feat. The GREEN LANTERN.

My other passion is music: JB ON THE JUKEBOX,DIG U LIKE AN OLD SOUL RECORD.

My youth: GOLDEN TIME OF DAY, BLUE LIGHTS IN THE BASEMENT, RIDIN' IN THE BACK OF MY BIG BLACK DADDY'S CADILLAC.

My nod to art history the nouveau and Asian inspired respectively ANGEL FOR US ALL and KABUKI.

African American heritage ROBERT JOHNSON and last but not least JELLY'S LAST JAM. I thank Robert Powell for bringing us all together.

RIEHLIFE:How did you meet Robert Powell?

You know when you have friends you've connected with that you can't really recall how you first met? Well it's that way for me. I'll cite either the NEGRO LEAGUE BASEBALL MUSEUM 'Shades of Greatness' show from Kansas City, MO or when I was invited back for another show in which I sold a piece. Anyway he's a remarkable brother!

RIEHLIFE: Your paintings are so full of life...so in life. Do you find that it's important for you to get out there and whack around and live in order to have something to take back to the studio?

KEITH: Life! I'm glad you said that! It's what I truly try to portray in all my work.

Even with inanimate objects I inject spirit with a textured canvas and vibrant colors. I also want to tell stories that invoke a response. Different chapters with a common message.

It's important to get out and share experience. Travel, read, spend an evening with an elder, meet people from different walks of life. It gives one foresight and something to say.

Take BLUE LIGHTS for example, a tribute to the old school house party. Many a patrons would point out a character and say "That was me!" The 50's, 60's or 70's and they ALL could relate!

"Blue Lights in the Basement" by Keith Shepherd

RIEHLIFE: Tell us about how you taught yourself to draw as a boy.

KEITH: Well, Janet I've drawn as long as I can recall. I first began by tracing. There was this 1960's kids show called 'WINKY DINK & YOU'.

[There's lots more, folks! Read on!--JGR]

When this character got in a jam he'd ask you the viewer to place your 'MAGIC SCREEN', a thin sheet of plastic, on the TV and draw following lines in the program a parachute,ladder or somesuch to help save the day.

I never had the official WINKY DINK kit because apparently 2.95 + S/H was a small fortune to my parents so I used a 'cleaners bag' instead. Anyhow something in my little brain clicked. Using loose leaf notebook or mimeograph paper, 'MIMEOGRAPH PAPER' ---Yes, I'm that old---I'd trace everything from comics to photographs. From there I discovered 'how-to-draw books in the library. From then on, there was no stopping me.

RIEHLIFE: Keith, you graduated from Washington University with a BFA. Tell us what some of the most important lessons are that you took away from that training...how you've used that in your art life---both commercial art and fine art. And...what didn't they teach you?

KEITH: Washington University taught me to hone skills from my previous education. Not just see a physical object but observe the world around it. To translate it to light and shadow, form and color. I'd be remiss not to mention an instructor who became my mentor, Kimball Wells, from St. Louis Community College at Forest Park. This guy instilled in me the confidence to even apply to Wash U.

I'm one of these rare persons who always knew what I wanted to do with in life. We creative types are fragile creatures and moreso as inner city youth. Kimball would marvel at my drive and perseverance and what I had already accomplished. I told him I wanted more not just in terms of a career, but I didn't have a clue on how to go about getting it. Together we developed a plan that strengthened my portfolio as well as my resolve.

The plan we developed included how to get grants, loans and scholarships---all the things I needed to take it to the next level. "Be better than you think you are," he'd say, "Then be better than that". These were words to build on. Kimball passed on a year later following my graduation from diabetic complications. I'll never forget his belief not only in my artistic potential but me as a man.

Back to WU; from this fine ivy league institution I also inadvertently learned how to deal with the reality of being African American in a predominantly white profession. No one saw the impact that the the digital revolution,except maybe ADOBE, was to have on graphic arts at large. I had to be ready to adapt with a quickness.

RIEHLIFE: I admire that you had such a long career as a graphics artist at Hallmark Cards. Tell us about this and how you view it. Do you see it as a day job you do in order to do you art? Do you see it as a place where you learn things
that roll over into your fine art activity?

KEITH: DESIGNER was the term Hallmark used when I left but we were called ARTIST at my start. 'Artist' meant that your contributions were valuable to the creative team of the company. That YOU mattered then they hit a wall.

In the end, we all became designers. Designers became paint by numbers. The credo became 'Do not only as we say do but as our corporate partners say do.' This was okay by me because I had fine art as my personal oasis. Fine art was a beach I could wash up from the creative shipwreck had become the job.

RIEHLIFE: It's always a challenge for creative people to balance livleihood and creative space. How would you express your success in managing that?

KEITH: Lots of employees exhibited though sadly some could not---for Hallmark said they 'owned' their style. Oddly enough the folk that inhabit my work was never marketed for product. For example in a business meeting I was once told that they appeared 'too black' or not 'black enough'.

Thank goodness for small minds, for I was then free to follow my passion. I always wanted to help in the community. Lacking in funds, I'd offer my time and talent to various charities around Kansas City. At silent auctions, to my surprise, the work I donated often yielded the biggest donation. To paraphrase Sally Fields, "people liked me, they really liked me!"

Compliments were far and between at work where it was 'what have you done for us lately' and 'that wasn't very good.' In galleries I could replace pixels and paint by mouse with a brush.

Patrons would say how they love what what I do while a supervisor would want to 'revisit my performance' next quarter. The corporate world has and will always be well...corporate. Hallmark hired me right out of school so I was a loyal soldier to the very end. In my 24 years tjere I was flown all over the country. I developed people skills along with digital skills beyond my wildest dreams.

I am extremely grateful for the opportunity and I wish them the best. Hell, I still have stock there! In such an infrastructure I'd say “Know your limits but do not limit your desire”.

RIEHLIFE: Anything else before we say good-bye?

KEITH: I talked about shared experience. I think art exhibits fit in that category. Nowhere near enough African Americans support their sisters and brothers in the arts.

First let me make clear that the creative arts including painting, theater and sculpture is a human experience above all else. My family and friends came to the show. Some hadn't been to a museum let alone a gallery in almost...never!

They stood looking at my work for a moment then burst with pride. They could scarcely contain themselves! The connection wasn't merely kinship but of generations of shared experiences.

Then they went on to say what they loved about other artists. To continue the legacy of artist collectives like the Harlem Renaissance we need acknowledge our accomplishments. Pass on that 2nd plasma screen and buy ART!

What a wonderful part of a creative spirit to pass on to a family instead of a bit of soon to be obsolete bit of technology. Galleries aren't hallowed halls to be shunned for being too bourgeois or just a human interest piece on a local infotainment TV program. Come on out to support your culture and ourselves. Hope that didn't come off too 'soapbox' or preaching to the choir it was merely a humble plea.

Thanks again for everything Janet. This was indeed a pleasure.