Artebella On The Radio: June 17

The (Un)Known Project is a collaborative, two-year initiative led by IDEAS xLab to tell the stories of both known and unknown Black men, women, and children that were formerly enslaved and hidden figures in Louisville, Kentucky. This week we talk with old friends William Duffy & Dave Caudill, the two sculptors working ion this project, which will be unveiled Saturday, June 19.

William Duffy was born and raised in Louisville, Kentucky. Always having a special talent for painting and drawing, Duffy graduated from the Louisville School of Art with a BFA in painting.

Duffy’s work can be found in numerous private, corporate, and public collections, including Phillip Morris USA, Brown-Forman Corporation, Kentucky Fried Chicken (now YUM! Brands, Inc.), Humana Inc., The Louisville Orchestra, and the J.B. Speed Art Museum.

David Caudill creates artworks for public, corporate and private collections. His larger public works are found at Louisiana’s Rip Van Winkle Gardens, East Tennessee’s Horizon Center park, the University of Kentucky’s Singletary Center for the Arts, and the University of Louisville School of Music. Corporate collections include Brown-Forman Corporation and Fire King International. Individual collectors across America have acquired his work.

He is also one of the few sculptors in the world who have created an environmental undersea sculpture. Caudill’s artwork was placed on the seabed near Nassau, The Bahamas.

The {Un) Known Project’s first public art installation "On the Banks of Freedom" gets unveiled June 19 as part of Juneteenth: Past, Present, Future.

Artebella On The Radio: February 27, 2020

Ashley Cathey has curated an exhibit called Black Before I Was Born at Roots 101. She brought two of the artists, Kenyatta Bosman and Chip Kafele Calloway, and Roots 101 Founder/Director Lamont Collins also joined us to talk about the show and the newest addition to Louisville's Museum Row. Tune in to WXOX 97.1 FM, or stream on ARTXFM.com each Thursday at 10am to hear Keith Waits talk with artists on LVA's Artebella on the Radio.

Lamont Collins - Founder /CEO at Roots101: African American Museum, is a native of Louisville with extensive experience in media and promotions in television, radio, and with Philip Morris.

Ashley Cathey is a Louisville native whose paintings have brought her to prominence in a fairly short time after moving back to Louisville from Chicago. When she returned, she quickly found her footing and exhibited work in a group show at the Louisville Community Center, one of the Metro Parks community centers overseen by Portia White. From there, Cathey caught the attention of ArtsReach’s Julia Youngblood, who commissioned Cathey to create a series of portraits, which ArtsReach used for posters for their annual Keepers of the Dream celebration at the Kentucky Center for the Arts.

Chip Kafele Calloway is Owner / Designer / Creator at MAD MOON VyBE Artwork and Dj/Co-host at WXOX 97.1 FM.

Kenyatta Bosman is a nonbinary visual/multimedia artist that focuses on realism and being in the moment. Currently studying at Kentucky College of Art + Design. Queer Black Experience. Their inspiration comes from black and queer cinema films.

Additionally, Britany Baker appeared to talk about the James Russell May Fundraiser Art Show at Art Sanctuary.

Feature: Ed Hamilton

"Ed Hamilton's Studio" Photo by Sarah Katherine Davis For LVA (2016)

Photo from Louisville's Hometown Heroes.

On the west-facing side of the Glassworks building in downtown Louisville you will find an over-size image of sculptor ED HAMILTON with the legend, “Ed’s Louisville.” Part of a series of such tributes to native sons and daughters located throughout the city, the placement of this particular portrait is significant because the west side of town is where Hamilton came of age. Although born in Cincinnati, he grew up on what was then Walnut Street (later rechristened Muhammad Ali Boulevard); a stretch from 6th Street west to 18th Street that he describes in his autobiography as, “…my street, and I owned every crack and every weed in those concrete sidewalks.”* So it is appropriate that his visage is cast out onto what truly was Ed’s Louisville. 

It also explains why the renowned artist has never let fame lure him away. His heart is here, where his parents, Edward Hamilton, Sr. and Amy Jane Hamilton, ran the family business, a tailoring and barbershop, in the early Mammoth Building at 6th and Walnut Streets. Hamilton’s first steps as an artist were at Parkland Junior High School, where art teacher Harriet O’ Malley nominated him for the Children’s Free Art Classes (CFAC) operated by Louisville Visual Art, then called The Art Center, located on the University of Louisville campus. 

"Ed Hamilton working in his studio" Photo by Sarah Katherine Davis For LVA (2016)

Hamilton becomes animated talking about this turning point: “If that teacher hadn’t picked me out for CFAC - she could have picked any of those other kids – but she picked me. I never would have gotten there on my own. I had no thought, no ambition to be an artist. That’s an example of why teachers are so important.”

Jean Mulhall, a professional medical illustrator taught that CFAC class, but the human form was not a subject. “We were mostly outside. We drew all over campus.”

Later he attended Shawnee High School, where his art instructor was Patsy Griffiths. In his autobiography, Hamilton describes the contentious atmosphere created by the push for “total” integration in the city schools: “I still remember the animosity and disrespect from white students in that school.” So the fact that Griffith, a white teacher, fostered the talent of a black student in the midst of such tension made an important impression on the budding young artist. When Hamilton graduated in 1965, she pushed him to apply for a scholarship to the Art Center School, which was located in the same building where he had taken CFAC classes. When he returned, with portfolio under his arm, for his interview, he was taken aback: “It had been a few years, and I was still young,’ he laughs, ”and I kept thinking, ‘this place sure seems familiar’.”

Art Center building,ULUA.001.0026, University of Louisville Archives & Records Center, Louisville, Kentucky

The Art Center building was located on South First Street on the U of L campus, and Hamilton used to hang out between classes at a café in Bigelow Hall that was a gathering place on campus for Black students. It was there he met his wife. “I made my move… and introduced myself. When she said her name was Bernadette…well, the name alone was enough for me!” For their 50th Wedding Anniversary in 2017, the Hamiltons are planning a trip to Europe to celebrate.

Of course, there is a lot more life and history between that meeting and today. For 49 years Ed Hamilton has built a career and a reputation that now positions him as one of the foremost American sculptors of public work. Yet his studio is surprisingly modest considering the scale of some of his most famous pieces: the Lincoln Memorial in Louisville, the Joe Louis statue in Detroit, or the Martin Luther King, Jr. memorial, in Newport News, Virginia. It is a reminder of Hamilton’s humble roots and that, whatever his preeminence, he remains a hard-working artist.

"Bust of George DeBaptiste". Madison Indiana commission of an Underground Railroad conductor.

His latest commission is a life-size bronze bust of George DeBaptiste to be installed in a park development in Madison, Indiana. DeBaptiste (1815-1875) was a freeborn black man who settled in Madison before the Civil War and was a conductor on the Underground Railroad, ferrying slaves across the Ohio into Indiana, and later a key figure in the abolitionist movement after riots forced him to move his family to Michigan. It is a subject that fits very well into Hamilton’s oeuvre of African-American History. Taking on such stories as the mutiny of the slave-ship Amistad, African American soldiers during the American Civil War, the migration of southern blacks to the western United States, or the contributions of such individuals as Booker T. Washington and Medgar Evers, seems a natural task for someone with such an acute sense of history. Hamilton does extensive research into the historical background of each project just to prepare his submission, long before he has been formally selected. “I’d like to think it makes the difference – one of the reasons they choose ME.” Even 25 years after completing the Amistad Memorial in New Haven, Connecticut, he speaks extemporaneously and in great detail of Cinque’s mutiny aboard the notorious slave ship and the landmark Supreme Court ruling that finally allowed he and his compatriots to return to their native Sierre Leone twenty years before the Civil War. Should Hamilton ever wish to “retire” from making monuments, he could easily forge a lucrative career as a guest lecturer in history classes, just don’t expect that retirement to come anytime soon.

A 360° video featuring the "Bust of George DeBaptiste" (Madison Indiana commission of an Underground Railroad conductor) by Ed Hamilton. 

"Ed Hamilton" Photo by Sarah Katherine Davis For LVA (2016)

*The Birth of An Artist: A Journey of Discovery, by Ed Hamilton, Chicago Spectrum Press, 2006

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This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Photos by Sarah Katherine Davis. Written by Keith Waits. Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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