
Respect and Remembrance
WHY AMERICAN WOMAN: A LYNCHING SERIES
WHY AMERICAN WOMAN: A LYNCHING SERIES
Her body is the canvas, mocha hues, set against her country’s red, white, and blue backdrop, telling our story for generations.
I’ve always been a fan of pin-up art and erotica and have been greatly moved and inspired by the works of artists like Alberto Vargas, Gil Elvgren, and Hajime Sorayama. However, for as long as pin-up has existed as an American art form, few images have focused on Black women, and none of the few illustrations merged historical elements into their compositions. Painting nude or semi-nude women does not interest me in and of itself. Painting “pin-up” art of Black women had to be about more than “Look, white artists do it. I can do it, too.” The traditional phrase “pin-up” and its close relationship to the word “lynching” was too enticing to be ignored. Hence, the series appellation. The word “lynching” redacts the word pin-up in my mind and so is reflected in the series logo. Between the years 1882 and 1968, 3,446 Blacks and 1,297 whites were lynched. Lynching typically involved extreme brutalities such as torture, mutilation, decapitation, immolation, and desecration.
Why a lynching series? What could I possibly be attempting to do? Idealistically, there are several things I hope my series will address. Using the Black female body as a totem for issues that have faced the larger African-American community; hopefully, forcing candid conversations about racial inequities is my intent. The Black woman, having internalized a foreign value system and attempting to imitate her white counterpart, becomes a distortion of herself. Highlighting an appreciation of Black beauty that might manifest in the abandonment of fake fingernails, false eyelashes, and the wearing, weaving, and gluing of hair from other ethnicities onto their heads would be ideal.
Also, I wish to reconsider the cultural origins of presenting the Black woman as “strong and independent,” brimming with a “combative attitude,” and how that stereotype has sometimes benefited and simultaneously harmed her image. The artistic merging of social/political and historical elements and the African-American female form elevates the works beyond pastiche.
Lastly, white men who appreciate the erotic nature of these paintings and are attracted to African-American women should consider these visual offerings an opportunity to experience a reckoning with the social-historical components that combine to make up what they find alluring.
This is the ideological approach to my “pin-up” art and, for me, separates my work from pornography. Truth is the goal; the Black female form is the vehicle by which larger, more complex, honest conversations about race may be sparked.

Respect and Remembrance
(For my Father)
“What do you want us to do with the thing in the next room?” was the question that the white police officer asked me about my father’s dead body lying cold on the floor. I remember the shock on the face of his Puerto Rican partner at this. That was the day that I had to go to my father’s Harlem apartment and identify his body after he suffered a massive heart attack in his sleep. I was at home in the Bronx when I received the call from the police (I lived upstairs from my grandparents with my wife and children) when my grandfather called me downstairs with the words, “Craig…Reginald is gone!” That was the first significant death in my family that impacted me. But let me back up a bit; you need context.
My father was an artist. He would draw to develop his ideas. Engraved in all his ceramic pieces and sculptures were the words “pro-Christi,” that is to say, “for Christ.” He encouraged me to do the same with any artwork that I created. He spoke four languages, played a little classical piano, sculpted, and worked in clay as a ceramicist. Unfortunately, I have none of the works that he created, nor do I have a picture of him. The story as to why that is will have to wait for another day. My mother did not have a relationship with him. In fact, I don’t remember ever seeing the two of them together. My mother helped me prepare for his funeral; however, her preparatory language as she drove me to the funeral home was peppered with phrases about how unprepared he was for his death and not to be swayed by the funeral director to try and buy an expensive coffin for him all he needed was a box. She paused when she noticed a car next to hers had South Carolina plates long enough to ask me to roll down the window and ask them what part of SC they were from…I didn’t do it. She did not come to his funeral because, as she told my sister, she and Reginald didn’t get along, and she saw no reason to go. My sister and I have two different fathers. My sister’s father’s name is Robert. For those of you who saw the movie Boyz in the Hood, think of the mother of Dough Boy and Ricky and her attitude towards her two sons. That same mentality and treatment was prevalent in my mother towards myself and my sister.
Sometime later, I asked my mother’s father (my grandfather) why my mother responded to me with the indifference that she at times displayed while she bent over backward to accommodate my sister’s every wish in the way that she often did. His response was more confirmation than anything else…“Well, I tell you, it's like this, your mother didn’t like your father, and she don’t care too much bout you; she’d near bout eat Robert’s shit, and that’s why she is the way she is about your sister.” Well, that rang true to my ears. It wasn’t really too much of a shock. I reasoned that my grandfather felt his time on this earthly plane was short, and he might wake up one morning standing in front of Jesus, hence, the blunt truth.
It took more than a day to move his body after I identified it, which makes a significant difference in its appearance since he passed in the month of July. To add insult to injury, someone at the city’s coroner’s office lost the paperwork that confirmed my identification, and so I had to go and do it all over again about two days later before they could cooperate with the funeral home. That was very difficult, mainly because of decomposition…it took weeks before I could eat hamburger meat. My father received quite a bit of disrespect in his life, and after he died…it‘s for this reason that I show him respect with that phrase stamped on all my artwork.
Life is complicated; we make our heroes and our villains. My mother was kind at times and indifferent towards me at other times. The truth is that most of us exist somewhere in between what we most fear becoming and what we long to be; in the final analysis, my signate is an attempt to remember my father and give him the respect that, often, he felt he didn’t get in life.