Gordon Parks

Robert Hale--international photographer and journalist--exhibit "Intimate Encounters: The African-Americans" is featured by Portfolio Gallery and Education Center as part of the American Art Experience: St. Louis. The exhibit runs through November 30th. Hale's "Intimate Encounters: The African-Americans” presents portraits of people who have contributed to culture in their community at large. More information about "Intimate Encounters" follows our conversation.

I met Robert Hale at the opening of his photographic exhibit "Intimate Encounters: The African-Americans" at the Portfolio Gallery and Education Center. Afterwards Robert and Carol Powell hosted a salon honoring him at their home.

I'm so happy that you'll learn more about Robert, his work, and the creative process in our conversation today. He has such a wealth of information that relates to Riehlife's mission of creating connections through the arts and across cultures. Robert Hale's website is a gorgeous portfolio of his elegant photos of a wide range of subjects around the world.

This conversation with Robert Hale is one in an on-going series of posts about artists and writers on Riehlife.

--Janet
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Riehlife: Robert, you're known as one of the West Coast’s leading photographers. Your work both as a photographer and as a journalist, has taken you on assignment throughout the world. That sounds like a dream come true. The portrait of your father at the Portfolio Gallery is one of the most moving in your show. He was both a photographer and jazz pianist. How did your childhood in Roanoke, Virginia set you on your course as a photographer?

Robert Hale: I come from a family where music and art were highly valued, encouraged, and played a large role in my early years. My father was not only a jazz pianist. He and his two brothers were strongly involved in photography. My uncle, Sonny 'Bay' Hale, a portrait photographer, let me observe him work in his home studio. Another uncle, James, though not as involved in the craft as his brothers, nevertheless was a fine amateur photographer. My father was more of a editorial photographer. I supposed through osmosis I l absorbed the lessons.

My mother, a nurse, gave me patience and empathy, played the piano, and made sure we children were exposed to more than pop culture. Both my parents supported my early experiences such as belonging to Junior Achievement, being the school newspaper photographer, and taking my first job at 16 as photographer for our local summer theater. I even worked in the creative department of a large department store as a window display decorator. These experiences informed my craft in later years.

Riehlife: The bio for your exhibit describes how after graduating from high school and serving in Vietnam, you studied photography under Adrian Wagner and Hal Jordan at Los Angeles City College. You moved to Sweden where you worked as a photographer in Stockholm. When you got back to the United States in the mid 1970’s, you felt the need for greater security in your life and turned from photography to a 20 year career in advertising as an account executive.

Many of my friends in the arts are constantly figuring out how to continue doing what they love. The Day Job is a classic strategy for artists to gain the financial stability to pursue their art. You mentioned some of the lessons from that time in sales--that you learned to talk and listen at the same time. Could you give us some tips on how to do that? What other skills did you develop that help you in the business of photography?

Robert Hale: Although I originally didn't intend to spend 20 years in the "corporate" world, it did however allow me to provide a more stable and comfortable life for my son and myself. During this time I continued to shoot and acquire skills necessary to grow as an artist. Coincidentally these "day jobs" paid for seminars that gave me skills that would serve me well. Chief among these was learning how to promote myself. Two of the most important skills I learned were how to listen, and nurture the business relationship. I had to discern exactly what the client wanted and needed, and to always ensure that the relationship worked both ways.

Riehlife: You've described your time an account executive as “years in which I had lost my courage.” How did you manage to regain that courage in 1996?

Robert Hale: I had been showing my work in a few smaller exhibitions in and around Los Angeles. When my work appeared in a group show in Ojai, California, I got the opportunity to photograph the legendary "Mama of Dada, "Beatrice Wood. After making my first of many portraits of her, we became friends. Through her gentle mentorship I felt I could make the transition from the business world to the ART world. After one of my images of Beato was accepted into the Smithsonian's National Portrait Gallery's Permanent Collection, I felt I ready to make the move back into the world of ART.

Riehlife: Your images have been printed in prominent publications such as The New York Times, The Los Angeles Times, The Village Voice, The LA Weekly, and Black Enterprise. Do you make a distinction between your work as an artist and your work as a journalist? How has one informed the other?

Robert Hale: I consider myself primarily a environmental portrait photographer; but I have always prided myself on being able to shoot anything--to be a general practitioner of photography if you will. Whether using images or words I want to tell a story with beauty, humanity, and profound calmness.

Riehlife:Your photos at The Portfolio Gallery include such well-known figures as Louis Farrakan, Gordon Parks, Rosa Parks, Betye Saar, Ozzie Davis, and Carrie Mae Weems. Your network of contacts in America and Europe is extensive. How were you able to set up your photo sessions? Did you need to persuade those who sat for their portraits, or were most immediately willing because you came recommended by friends?

Robert Hale: My portrait sessions have come about in different ways; assignments from publications and commissions. Most though have come through recommendations by friends or chance or planned encounters. Once contact is made the first meeting is setup to establish a rapport, and show my portfolio. After that initial meeting, I decide where the portrait will be made--either in the subject's environment, or at a location that I choose to complement the subject. By the time we get together for the actual shoot, I usually have everything in place. The final step is to put the subject at ease. I want the people I'm photographing to be active participants in the process. The easiest part is the actually shoot.

Riehlife: Your sensitive handling of light and shadow brings out the essence of whatever you photograph. How do you set about revealing this elusive quality so that it will live in your prints?

Robert Hale: Light is very important for me. Probably more important than the background. I prefer soft flat lighting. Illuminating my subjects evenly with shadows in the background adds a sense of depth and mystery.

Riehlife: You've generously volunteered your photographic service to organizations such as the Los Angeles Children’s Museum, Aids Project Los Angeles, L. A. Shanti, Aids service Center in Pasadena, California. You serve on the board of Directors for The Black Gallery Group, Los Angeles, California. This is in keeping with your focus on contributing to the culture of your community. Did you choose these causes, or did they choose you?

Robert Hale: With the gifts I have been given, and my responsibility as a human being, it's important for me to use these gifts in service of others. Sort of making like deposits into my karmic bank account. I'm most comfortable offering my services where they are most appreciated and will do the most good.

Riehlife: You're now spending much of your time in France, following the path of expatriate black intellectuals and artists. I'm thinking of artists and writers such as Josephine Baker, Richard Wright, James Baldwin, Langston Hughes, Nina Simone, and Romare Bearden. What's that been like for you? Does it offer more freedom? Inspiration? Is there racism in France? How does your time there shape you as an artist these days?

Robert Hale: As you have said, I am following a long line of African-Americans who have ventured to France. While racism certainly exists in France, it doesn't have the same bite as it does here in the US. To be acknowledged as a photographer, and not as a black photographer, is a very liberating. In a country that has a deep appreciation of the arts, you are given more creative freedom to work and exhibit your work, allowing you to explore other avenues of expression that would normally not exist in the States.

Besides you cannot help but be inspired spending time in the land of Cezanne, Van Gogh, and Picasso, and that inspiration finds a way into your work. I have been very fortunate, and while it's hasn't always been easy, it's more than worth the effort to remain here. The rewards for me has been forming a wide circle of friends, a beautiful environment in which to live, a healthier lifestyle, and continued growth as an artist.

Riehlife:You mentioned that you'd approached Gordon Parks to find out how to stay human and approachable as one's reputation and celebrity grows. Gordon and others of his generation didn't set themselves apart. They were even listed in the phone book. What did you find out when you talked to him?

Robert Hale:Meeting Mr. Parks was one of those high points in my life. Sharing a couple bottles of good wine only made it better.

To spend time with a man who valued his humanity and creative skills above all else was just the lesson I needed to learn in order to help understand the proper balance between one's celebrity status and one's humanity.

Riehlife: It's been a pleasure learning more about you and your work. Any last thoughts?

Robert Hale: Thank you allowing me to talk about myself. I'm more comfortable behind the camera and allowing my images to speak for me, but I appreciate for this opportunity. I hope to continue to travel the road that began in my childhood, and to grow both as a person and as an artist.

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

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

LIST OF PORTRAITS

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

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

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.

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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.

When I attended Bibbs' gallery talk, he shared his experiences in the art world as an African American artist, entrepreneur and philanthropist. He is as riveting a speaker as his art is.

He generously gave each audience member a fan with the Black Madonna image used in the film adaptation of Sue Monk's "The Secret Life of Bees."

Born in Harbor City, California, Bibbs credits his parents with recognizing and encouraging him to develop his talents. Charles has been able to combine his artistic talent with his entrepreneurial spirit by forming B Graphics and Fine Arts, a company that publishes and distributes art. The company has grown into one of the most successful publishers and distributors of ethnic art in the country.

Charles Bibbs’ art fuses African, African American and Native American cultural themes, to make powerful cross-cultural statements. His art is thought provoking and arouses strong emotions across ethnic, gender and generational boundaries. Across the board, his art conveys a deep sense of spirituality, majesty, and dignity; they are recognizably “Bibbs.”

Scamper on down to Portfolio Gallery & Education Center to see their newest exhibit of Dean Mitchell's magnificent work. With precision and affection his water colors demonstrate that everything's a portrait (as the Riverfront Times says). Go here to see samples of his paintings and prints. Dean is a premier water color artist of our times and one of the highest paid African-American artists in the world today. Coming from poverty and raised by his grandmother, Dean has risen to the heights of the art world.

Joan Holman, the Internet marketing wizard says:

Dean Mitchell's art has been compared to Norman Rockwell and Andrew Wyeth, but Dean has his own unique style. Much of his art is representative of African-Americans, whose images are under-represented if not totally absent, from the museums in America.

Go here to see the book: Against All Odds: The Dean Mitchell Story

Dean's exhibit is open every week Monday, Wednesday, Friday from Fri., March 27 until Sun., May 31

3514 Delmar Blvd.
St. Louis, MO 63103
Phone: (314) 533-3323
Public Email: portfoliogallery@att.net
URL: www.portfolio-stl.com
Hours: Mon., Wed., Fri., 9 a.m. - 5 p.m.; Tue., Thur. and Sat., by appointment

In addition, you'll find art class instruction for children, youth, adults and the physically and mentally challenged. Original, African-American fine arts. Lectures, workshops, seminars and tours. Tours, 10 or more, $1.50. Tours are by appointment.

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.