Review Dana C. Chandler, Junior Aka Akin Duro A Globally Renowned Outsider Artist In mckinley, new-mexico, united-states | Art In Mckinley
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Dana C. Chandler, Junior Aka Akin Duro A Globally Renowned Outsider Artist
Mckinley,
New-mexico,United-states - 80305
Detailed description is This Page focuses on the never dull life, times, art, and views of the internationlly-renowned activist artist and educator, Professor Emeritus Dana C.
Chandler, Jr.
(Akin Duro).
.Called "controversial", a "Black Power Artist", "activist artist" and "Outsider Artist", Professor Emeritus Dana C.
Chandler, Jr (Akin Duro)was born in 1941 in Lynn, MA.
Educated in Boston Public Schools, where he won his first accolades as an artist in grade school, he has been fighting for social justice and human rights since his teens using his most powerful tool--his art.
He was an award-winning artist as early as his junior year in high school, where he won national Scholastic Art Awards for all four years as well as Boston Technical High School’s First Annual Art Award in 1959..
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After working for his one of his high school mentors for two years after graduation, Gunnar Munnick, and a brief time for the Retina Foundation in Boston, Chandler won a place at the prestigious public institution, the Massachusetts College of Art, from which he was graduated in 1967 with a B.S.
in Teacher Education..
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But having been an activist in the black integrationist movement since his high school days with NAACP, The New England Federation of Temple Youth, of which he was an honorary member, and The New England Conference of Christians and Jews, Chandler was graduated from MassArt right into the fomenting black nationalist movement driven by the repeated violence against nonviolent protesters to racist oppression..
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Following a violent altercation on June 4, 1967, shortly before his MCA graduation and during which Boston police beat welfare protesters, some of them pregnant, Chandler, an ardent and already well-known community activist, became a strident revolutionary.
However, for Chandler, his art, not violence, sit-ins or eloquent speeches, became his form of protest..
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Out of that determination came seminal pieces like "Fred Hampton’s Door 2", a protest piece created from an actual door and representing the bullet riddled, blood stained bedroom door police shot through during their brutal police massacre of the sleeping,18 year old Black Panther, Fred Hampton; "Black Man Break Free…", the sinewy, ebony, clenched-fisted black arm breaking through the white egg of racist oppression, and "SaKKKrificial Dance", the artist’s interpretation of Matisse’s famous "Le Danse" 1 (1909)..
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While Matisse's famous piece celebrates his appreciation of dance in the cultures of color he'd visited in the years prior to its creation, Chandler's, in stark contrast but no less masterfully, protests the Ku Klux Klan’s horrifying history of lynching, castrating and burning black men and, in some cases, dancing around the murdered's corpses as if in celebration of their atrocity.
It is this powerful protest art the artist created in the 60's, 70's and 80's for which he is most well-renowned, though he has continued to create strong images evocative of painful historical events into the 21st century, for this is the artist's calling...a God-given mission, he calls it..
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After graduating from MCA, the Chandler worked as an instructor in the Model Cities Program consortium colleges in Boston for several years while continuing his community activism, lecturing and exhibiting nationally, and continuing to produce multiple pieces of protest art as well as art that celebrated and supported the African American experience in America like the "Black on Black for Black" reproduction series and the "Urban Weaponry Series".
He also produced pieces that excoriated African Americans who participated in their own destruction with drugs and violence like "That’s No Way to Study, Brother/Sister".
Through his work, he encouraged African Americans to pursue positive social and political action through education and hard work through murals like "Knowledge is Power" and "The Black Worker"..
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Though famous by 1970, when he was featured in national magazines including "Time", "Jet", "Newsweek" and "Encore" and was named the Boston NAACP’s Man of the Year, Chandler’s tenure at Model Cities ended in late 1970.
Needing to support his young family with a regular source of income and wanting to pursue his dream of being a college professor in a setting where he could reach young people of various races, like those that sat in his classrooms at MCA, in Spring 1971, Chandler accepted a position as assistant professor at Simmons College in Boston where he until he retired from his full tenured professorship in May, 2004..
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Chandler, who says he loved teaching from his first day to his last, had been hired to teach drawing and painting at Simmons but had no desire to teach those subjects from a Eurocentric perspective or in isolation from his own experience as an African American person or artist.
Thus, one of its earliest teachers and proponents, he taught Africancentrism in the context of art and his art began to reflect that aesthetic..
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Based on his own research (since, in 1971, there was no formal, commercially available black art curriculum), he would create and teach a curriculum based on the truths of African and African American experience that would countermand the revisionist historical perspectives that had nearly eliminated the experiences of women and people of color in the construction of “history” or, what Chandler calls, the “wumanstory”..
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Then, in 1973, after his South End, Boston, studio was ransacked and destroyed, along with any art and art supplies that weren’t stolen, Chandler turned a vacant warehouse building on the Northeastern University campus that he had been passing every day on his way to Simmons into an opportunity that would change his art career and the art world.
After convincing University officials, including then president, Kenneth Ryder, that having an African American artist in residence on their campus would benefit the institution, the University outfitted for his art use an 8000 square foot studio space..
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The artist's studio, on the second floor of 11 Leon St.
in Roxbury, was a portion of the 40,000 square feet that was vacant and, in Chandler’s mind, therefore, available.
After seeing what a positive effect using the space as an artist and allowing the community to use the space for events, a vision of an artist and community space began to form in his mind and, in November 1978, the African American Master Artist-in-Residence Program (AAMARP) opened with 13 artists as well as an enormous gallery and community space.
Chandler, who had been ardently supported in the Program by Ken Ryder, directed the program until he was relieved of his role when the University’s administration changed after Ryder’s retirement..
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But the Program earned world renown as artists from around the country and world, of all races and both genders and of every level of experience from children to master artists, exhibited in AAMARP’s gallery space.
Because the studios of the 10 artists who occupied studio space in the Program were required to be open to the public and students with regular frequency, dignitaries from every level of government, from local to international, visited their studios and attended AAMARP’s events, as did famous performing artists, athletes and luminaries from every endeavor and walk of life.
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Unlike most artist-in-residence programs which limited the time an artist could maintain studio space at an institution, once accepted at AAMARP, the studio spaces artists maintained were theirs for an indefinite period and among the largest anywhere.
Moreover, in the early years of the program, artists were supported financially by the University in their endeavors..
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While running AAMARP, Chandler continued to travel, lecture and exhibit worldwide as well as teach at Simmons and accepting teaching residencies at other institutions.
Most importantly, the “Prolific Professor” as he came to be known, produced increasingly masterful and controversial, message oriented art that has been exhibited in over 1,000 exhibitions in museums, galleries, community spaces and government buildings worldwide, garnering international significance..
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In the 1990’s, the ever-evolving, edgy, activist artist who had been making bold, colorful artistic statements with his work that has always reflected the times we are in, began creating black and white collage reprographics depicting the history of wars, holocaust, enslavement and violence against peoples of color and women in cultures around the world..
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Though criticized as inconsistent with the artist’s known work, these graphic works simply reflected the new directions the artist was taking as the world changed.
The works showed that wars, holocausts, slavery and other human atrocities were ongoing, prolific and repeated, occurring outside the traditional understanding of the Jewish holocaust and African slavery to modern day in countries like Bosnia, Iraq and Sudan (and they continue today, in countries worldwide).
Chandler’s reprographics also reflect the rape culture that (primarily) men perpetuate against women and children globally.
His works mean to show that no group is immune to either victimizing or being victimized by another group and all have, at one time in history, played one or the other role..
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As the 21st century dawned on an America growing in wealth, status and materialism in its service-oriented, knowledge-based, high-tech society despite its industry chiefs having exported most of the country's manufacturing jobs to "third world" countries around the globe, Chandler’s art evolved again.
He began creating large scale installations that reflected both the historical exploitation of cultures of color and the modern equivalent involving the exportation of jobs to low wage cultures to meet the nearly insatiable demand for consumables and retain high profits by exploiting low wage cultures to produce goods for American consumers..
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Chandler began creating and filling his own studio and museum galleries with these installations—large spaces packed floor to ceiling with household furnishings organized into recognizable living spaces complete with the electronics, accessories, jewelry and artwork as well as artifacts and images representing cultures worldwide as might be found in most middle-class homes in America.
The art used in installations was his and usually those pieces that depicted other human atrocities that pervade human history..
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The installations were meant to reflect the inextricable link between war and its resulting holocausts, slavery and human cruelty including the rape, pillage and plunder of various cultures and the theft of the cultures' resources, goods and artifacts.
Once conquered, the people of these cultures were virtually enslaved by corrupt governments raised to power after these wars, often with the complicity of their conquerors, and exploited in low wage work creating consumables for the West, frequently using the resources expropriated by their conquerors.
He was particularly interested in showing that it is men of all “racial” backgrounds who have perpetrated these atrocities and exploitation on the world’s women, children, aged and infirm..
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Chandler's message in these installations is that while we live in our comfortable homes, often bloated with our own booty from endless pursuit of material acquisition of mostly imported goods (and now, services), seeking ever bigger and better everything, those who produce our goods have, throughout history and continue today, frequently subsisted at levels that make many of America’s impoverished appear wealthy by comparison.
It is one absolutely consistent with his history of creating imagery that forces the viewer to rethink their perceptions of reality and, perhaps, change the way they relate to the world around them after having experienced a Chandler art show.
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Chandler’s art and its provocative, blatant messages have gained substantial historical meaning.
It has both redefined "fine art" to that which is at once masterful and more inclusive of the perspectives of people of color and helped change American race and gender history and relations by forcing us to face ourselves around issues of race and gender oppression..
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Moreover, by their purchases, private collectors like activist, David Glass of Lynn, MA and museums, including DeCordova Museum and Sculpture Park in Lincoln, MA and Addison Gallery of American Art at Phillips Academy in Andover, MA, have recognized his art for over 40 years as the significant investment-grade pieces by an important outsider artist that they are..
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Chandler and his work have been featured in over 40 books and numerous consumer and scholarly articles internationally, and he has become a regular area of study in art courses worldwide.
Because he continues to evolve, his messages change to reflect his personal evolution, he is still an interesting, provocative speaker who can speak and/or lecture brilliantly about the historical relevance of his art and his activism to the worldwide struggle for race and gender equality as well as bridge the generation gap that is confounding this country’s leadership and confronting America as we move into the “internationalist” phase of our own evolution.
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