>> PRODUCTION OF "BROAD & HIGH" IS FUNDED IN PART BY THE GREATER COLUMBUS ARTS COUNCIL.

SUPPORTING ARTS, ADVANCING CULTURE, AND CONNECTING THE COMMUNITY TO ARTISTS.

EVENTS AND CLASSES AT COLUMBUSARTS.COM.

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>> AMINAH ROBINSON GREW UP IN COLUMBUS'POINDEXTER VILLAGE.

AND HER VIBRANT AND EVOCATIVE WORKS OF ART, INSPIRED BY HER LIFE EXPERIENCES, BROUGHT HER INTERNATIONAL ACCLAIM AND RESPECT.

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>>> HI, I'M KATE QUICKEL, AND WELCOME TO THIS SPECIAL EDITION OF "BROAD & HIGH."

I'M STANDING HERE IN THE SHEPHERD NEIGHBORHOOD OF COLUMBUS IN FRONT OF THE LONGTIME HOME OF AMINAH ROBINSON.

TONIGHT, WE'RE GONNA GET A BEHIND-THE-SCENES LOOK AT "RAGGIN' ON", A COLUMBUS MUSEUM OF ART EXHIBIT ABOUT ROBINSON WITH THE WOMEN WHO CURATED IT.

OUR HOST FOR THIS SPECIAL FEATURE IS CHARLENE BROWN.

ENJOY.

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>>HI, CAROL, DEIDRE.

IT IS SO GREAT TO BE HERE WITH YOU, AND WE'RE SO FORTUNATE TO HAVE YOU TO TELL US ABOUT THIS EXHIBITION OF AMINAH ROBINSON'S WORK.

THIS IS AN INCREDIBLE DISPLAY OF NOT JUST THE QUANTITY, BUT THE VARIETY OF HER WORK.

HOW DID THE MUSEUM COME BY ALL OF THIS?

>> SO, WHEN AMINAH PASSED AWAY IN 2015, SHE LEFT ALMOST HER ENTIRE ESTATE TO THE COLUMBUS MUSEUM OF ART.

AND, EVER SINCE WE HAVE BEEN ORGANIZING THE HOUSE AND THE MATERIALS IN IT.

AND FROM THE GET GO, REALLY ALMOST SIX YEARS AGO NOW, WE KNEW IT WOULD BE THE MAKINGS OF A FABULOUS EXHIBITION.

I HAD BEEN AT AMINAH'S HOME MANY, MANY TIMES BECAUSE I HAD WORKED WITH HER FOR MANY YEARS, BUT THE WORDS THAT KEPT REVERBERATING WERE, "THIS IS AWESOME, THIS IS SACRED."

AND THERE WAS JUST THIS WOW TO THE HOUSE.

AND SO, IN PUTTING THE EXHIBITION TOGETHER, WE HOPED TO HAVE VISITORS HAVE SOME OF THAT SAME EXPERIENCE.

>> DEIDRE, DID YOU REALIZE HOW MUCH ART SHE HAD BEFORE YOU STARTED GOING THROUGH WHAT WAS LEFT IN HER HOME?

>> ABSOLUTELY NOT.

I HAD NOT HAD THE PLEASURE OF GOING INTO HER HOME BEFORE SHE PASSED.

AND WHEN I WAS INVITED INTO THE PROJECT I WALKED INTO THE HOUSE, AND LITERALLY MY MOUTH FELL OPEN.

IN EVERY SINGLE ROOM OF THE HOUSE, THERE WAS STACKS OF PIECES OF ART, OF RESEARCH, OF BOOKS.

IT WAS REALLY MINDBLOWING TO THE POINT WHERE I KNEW IT WAS GOING TO BE AN INTERESTING DISCOVERY -- AS WE EXCAVATED ALL THE TREASURES OF THE HOUSE.

>> AND THAT REALLY SAYS SOMETHING ABOUT ALL OF THE KINDS OF WORK THAT SHE DID OVER THE YEARS.

I MEAN, THE VARIETY WE HAVE JUST RIGHT HERE.

SHE WAS A COLLECTOR.

SHE LOVED GOING TO GARAGE SALES AND ANTIQUE SHOPS, AND TAKING THINGS AND MAKING THEM EVEN BETTER.

SO THAT WHOLE IDEA OF REALLY ALLOWING VISITORS TO FEEL SOME OF THAT WONDER IS ONE OF THE UNDERPINNINGS OF THE EXHIBITION.

THE OTHER ONE IS, IS THAT FOR ALMOST SEVEN DECADES -- AMINAH ROBINSON WORKED TO FILL IN THE BLANK PAGES OF AMERICAN HISTORY, AS SHE WROTE.

SHE DID THAT BY TELLING THE STORY OF ORDINARY AND EXTRAORDINARY AFRICAN AMERICANS AND THE EVENTS RELATED TO THEM.

>> WELL, HOW ABOUT IF WE GO AND CHECK OUT SOME OF HER WORK.

WHERE DO WE START?

>> I THINK A GOOD PLACE TO START IS IN THE BEGINNING.

WE'RE GONNA GO RIGHT THROUGH THIS GALLERY, AND WE'LL TALK ABOUT THE EARLY WORK THAT SHE DID AS A YOUNG PERSON.

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>> AMINAH WAS FROM RIGHT HERE, IN COLUMBUS.

TALK ABOUT THE NEIGHBORHOOD WHERE SHE GREW UP AND WHAT HER EARLY LIFE WAS LIKE.

>> ACTUALLY, THE FIRST YEAR SHE WAS BORN, IN 1940.

SHE WAS PART OF ONE OF THE FIRST FAMILIES TO INHABIT AS A RESIDENT, POINDEXTER VILLAGE.

SO POINDEXTER VILLAGE WAS ONE OF THE FIRST FEDERALLY SUBSIDIZED HOUSING COMPLEXES FOR AFRICAN AMERICAN PEOPLE IN OUR COUNTRY.

AND, SHE AND HER PARENTS, AND HER OLDER SISTER -- MOVED IN, IN 1940.

POINDEXTER VILLAGE IS ON THE NEAR EAST SIDE OF COLUMBUS.

IT'S BETWEEN LONG STREET AND MOUNT VERNON AVENUE.

IT'S AN AREA THAT, AT THE TIME -- WAS VIBRANT WITH BLACK LIFE.

IT WAS A WONDERFUL RETAIL DISTRICT WITH LOTS OF BUSINESSES AND COMMUNITY THAT WAS SEGREGATED AT THE TIME.

AND, SHE WAS REALLY A BENEFACTOR OF THAT COMMUNITY, AND SHE SHOWS IT IN A LOT OF HER WORK.

AS SHE GREW UP, SHE WAS ABLE TO GO OUT ON THE STREET CORNERS AND MEET ARTISTS ON THE STREET CORNERS AND LEARN.

SHE THOUGHT THAT THE PEOPLE OF THE COMMUNITY GAVE HER LIFE.

SHE WAS RIGHT NEAR BEATTY RECREATION CENTER.

AND SHE LEARNED A LOT FROM THE UPBRINGING AT BEATTY RECREATION CENTER.

SHE WAS ONE OF THE FIRST TO WIN AN AWARD FOR A CONESTOGA WAGON.

THAT IS AN IMAGE THAT SHE SPOKE ABOUT IN HER JOURNALS.

BUT, WE ALSO HAVE STORIES -- THERE WAS A FUNERAL HOME C.D.

WHITE FUNERAL HOME AND THE RECEPTIONIST AT THE TIME WOULD ALLOW AMINAH TO COME INTO THE FUNERAL HOME AND ACTUALLY DRAW FROM THE DEAD BODIES.

SHE HAD GUTS.

SHE HAD BOLDNESS, AS A CHILD.

VERY MUCH -- VERY CLEAR IN HER BEING AN ARTIST AT A VERY YOUNG AGE.

>> AND LOOKING AT -- SOME OF HER EARLIEST WORK THAT YOU HAVE HERE, CAROL, YOU CAN SEE SHE REALLY HAD SOPHISTICATION AND ENORMOUS TALENT.

TALK ABOUT SOME OF THOSE EARLY, EARLY ONES THAT YOU HAVE.

>> ABSOLUTELY.

ONE OF OUR FAVORITES IS THE SELF PORTRAIT SHE DID WHEN SHE WAS EIGHT YEARS OLD, IN WATERCOLOR.

WHICH IS NOT AN EASY MEDIA TO CONTROL.

AND THEN, THERE'S ANOTHER PASTEL SHE DID WHEN SHE WAS 10, WHERE INSTEAD OF CHOOSING YOU KNOW, LIKE PRIMARY COLORS -- SHE CHOSE SOME VERY SOMBER HUES, BUT BEAUTIFUL DETAIL.

AND THAT WENT ON WITH THE FABULOUS DRAWING THAT WE HAVE IN THE EXHIBITION FROM WHEN SHE WAS 16.

THAT LOOKS TO US LIKE MALCOLM X.

WE DON'T KNOW THAT FOR SURE, BUT IT CERTAINLY LOOKS LIKE HIM.

BUT EVERY HAIR ON THESE FIGURE'S HEADS, AND EVERY WRINKLE IN THEIR CLOTHES IS VISIBILE, AND JUST -- THE DEXTERITY, JUST THE ABILITY TO CAPTURE THE REALISM IS AMAZING.

LOOKING AT THOSE PIECES, I DID NOT REALIZE THAT ANY OF THOSE WERE DONE BY A LITTLE GIRL.

>> RIGHT.

RIGHT, EXACTLY.

>> THEY ARE SO SOPHISTICATED.

YOU HAVE ONE THAT SHE DID A LITTLE BIT LATER THAT HAS A RABIT COMING OUT OF HER HEAD.

[LAUGHTER] CAN YOU PLEASE TELL ME WHAT THAT'S ABOUT?

>> AMINAH HAS QUITE A SENSE OF HUMOR, AND COUPLED WITH THAT VINEGAR IN HER SPIRIT, SHE ALSO HAD THIS WONDERFUK MOXIE, AND THIS VERY PLEASANT DEMEANOR.

WELL, PART OF IT WAS FUELED BY THE MANY PETS THAT SHE HAD AS A CHILD.

ONE OF HER PETS WAS "PINKO" THE RABBIT.

AND AS YOU SEE, IN THIS BEAUTIFUL PAINTING, A SELF PORTRAIT -- SHE HAS "PINKO" ARISING OUT OF HER HEAD, WHICH I CAN IMAGINE AMINAH'S THOUGHT PROCESS WHEN SHE SAYS, YOU KNOW.

SHE IS THAT ONE WITH HER PETS PROBABLY, AND IT SHOWS IN THIS BEAUTIFUL PAINTING IN THIS VERY HUMOROUS, BUT VERY REALISTIC PAINTING.

>> WAIT A MINUTE, I THOUGHT MAYBE SHE WAS LEARNING ABOUR RENE MAGRITTE AND DECIDED TO GO SURREALIST.

>> I THINK IT IS IS A SURREALIST -- >> COULD BE.

>> YES, IT DEFINITELY -- >> WE DO HAVE SOMETHING SHE WROTE ABOUT THIS PIECE AND SHE SAID SHE WAS TRYING TO CAPTURE A DREAM ON CANVAS.

>> I THINK SHE SUCCEEDED.

>> I THINK SHE DID TOO.

WHAT'S SO INTERESTING IS THAT SHE USED OIL PAINTS, REALLY FROM THE POINT SHE WAS EIGHT YEARS OLD, TO THE TIME SHE WAS A YOUNG WOMAN IN HER MID 20s AND THEN SHE ABANDONED OIL PAINTS AND DIDN'T USE THEM AGAIN.

THESE EARLY PIECES ARE EXTREMELY INTERESTING.

>> AND EXTREMELY IMPORTANT, I THINK.

>> MHMM.

>> ESPECIALLY THE ONES OF HER FAMILY.

SO SHE ALSO DID QUITE A NUMBER OF OILS OF HER FAMILY AND IT WAS REVEALED IN ONE OF HER JOURNALS THAT THE VERY FIRST OIL SHE DID IS HERE IN THE GALLERY.

IT'S HER YOUNGER SISTER AND SHE STARTED IT WHEN SHE WAS EIGHT YEARS OLD.

BUT SHE DIDN'T COMPLETE IT UNTIL SHE WAS 10 YEARS OLD.

WHICH TELLS YOU THE "STICKTOITIVENESS" OF AN EIGHT YEAR OLD TO HANG WITH A PAINTING THAT LONG AND THEN COMPLETE IT TWO YEARS LATER.

THEN WE ALSO HAVE HER OLDER SISTERS AND SON SIDNEY IN OIL PAINTINGS IN THE GALLERIES AS WELL.

>> WHERE DID SHE GO TO COLLEGE?

>> SHE ACTUALLY WENT TO THE COLUMBUS ARTS SCHOOL.

WHICH IS TODAY COLUMBUS COLLEGE OF ART AND DESIGN AND SHE DID VERY TRADITIONAL WORK IN FASHION ILLUSTRATION AND FIGURE DRAWING.

SHE STAYED THERE FOR THREE YEARS.

SHE THOUGHT AND SHE HOPED THAT SHE WOULD GRADUATE FROM THE ART SCHOOL.

BUT FORWHATER REASON -- SHE REALLY BELIEVED IT HAD TO DO WITH RACISM -- SHE WAS NOT PERMITTED TO GRADUATE.

IRONICALLY YEARS LATER THE COLLEGE GAVE HER AN HONORARY MASTER'S DEGREE.

BUT THAT INCIDENT WAS VERY TROUBLING TO HER AND WAS REALLY SHE WRITES ABOUT IN HER JOURNALS THE FIRST TIME SHE EXPERIENCED ANY KIND OF DISCRIMINATION.

>> THAT MUST HAVE BEEN REALLY HURTFUL.

>> YES.

>> I THINK SO.

AND IN FACT THE OIL PAINTING RIGHT BEHIND YOU IS CALLED "DREAMS TO ACCOMPLISH" AND I THINK IT WAS DURING THIS TIME -- AND SHE WROTE ABOUT THIS AGAIN IN THE JOURNALS.

SHE WAS REALLY STRUGGLING, BECAUSE SHE KNEW SHE WANTED TO BE AN ARTIST, BUT SHE ALSO I THINK REALIZED THE OBSTACLES THAT SHE WAS GOING TO FACE.

>> RIGHT.

>> SO THAT'S WHY THAT PIECE SEEMS TO BE VERY EXPRESSIVE, AND SOMEWHAT TROUBLING.

>> HER EXPERIENCE WITH RACISM, WITH THAT DISAPPOINTMENT ABOUT SCHOOL CERTAINLY DIDN'T STOP HER.

>> NO.

>> SHE -- JUST LIKE SHE STUCK WITH THAT PAINTING AS A CHILD, SHE STUCK WITH HER ART AND DIDN'T GIVE UP.

>> AND SHE CAME TO HAVE REALLY GOOD FEELINGS ABOUT THE ART SCHOOL LATER ON.

SO I THINK FOR HER -- >> SHE RECONILED IT.

>> YES.

SHE PUT THAT ASIDE.

SHE WAS VERY ADAMANT ABOUT PRESERVING THE HISTORY, THE GOOD THE BAD AND THE UGLY.

BUT SHE WAS ALSO VERY HELPFUL.

>> YOU'VE MENTIONED JOURNALS A NUMBER OF TIMES AND YOU HAVE SEEMINGLY A LOT OF THEM IN THIS EXHIBITION.

TELL ME ABOUT WHAT YOU'VE LEARNED THROUGH THOSE JOURNALS.

AND WHAT THOSE ACTUAL, PHYSICAL JOURNALS ARE LIKE.

>> I THINK THAT WAS ONE OF OUR MOST -- YOU KNOW SURPRISING DISCOVERIES IN THE HOUSE -- WAS THE AMOUNT OF JOURNALS.

OVER 150.

SOME OF THEM RANGE FROM DAILY JOURNALS ABOUT GROCERY LISTS AND PHONE NUMBERS.

BUT ESPECIALLY THE ONES SHE DID LATER IN LIFE AND ON HER JOURNEYS, HER TRAVELS ARE JUST BEAUTIFULLY DONE.

THEY OFTEN HAVE WONDERFUL ILLUSTRATIONS.

I EVEN HAVE THE FEELIGN THAT SHE WANTED US TO READ THOSE.

SHE CHANGES COLOR OF INK.

SHE TALKS A LOT ABOUT HER PROCESS AND WHAT SHE WAS THINKING.

THIS PARTICULAR ONE IS "UNCLE ALVIN STORIES."

UNCLE ALVIN WAS HER MOTHER'S OLDER BROTHER AND HE WAS QUITE A CHARACTER.

HE ENCOURAGED HER IN HER ART.

BUT HE WAS ALSO A STORYTELLER AND HE TOLD THESE FAMILY LEGENDS ABOUT THE ANCESTORS AND THE ANIMALS.

A LOT OF FABLES AND SHE DEPICTED THESE THROUGHOUT CAREER IN ALL DIFFERENT TYPES OF MEDIA.

>> SHE WOULD HAND CARVE HER OWN JOURNAL.

SHE LOVED TO CARVE LEATHER.

SHE WOULD TAN IT HERSELF.

SHE WOULD GET SCRAPS AND RECREATE THEM IN BOOKS AND SATCHELS.

BUT WE ALSO HAVE A BOOKBAG THAT SHE CARVED IN LEATHER FOR HER SON SIDNEY.

>> WHAT I'VE COME TO BELIEVE IS THAT AMINAH CONSIDERED THE ENTIRE WORLD A BIG ART SUPPLY STORE.

SHE WOULD FIND THINGS THAT CAME NATURALLY IN NATURE OR THOSE THAT ARE MANUFACTURED AND OTHER PEOPLE MIGHT HAVE THROWN AWAY.

HER FATHER WAS REALLY IMPORTANT.

HE WAS A CUSTODIAN IN COLUMBUS PUBLIC SCHOOLS.

BUT HE TOO WAS AN ARTIST.

HE GAVE HER THE BEST ADVICE.

HE SAID, NO MATTER HOW LITTLE MONEY YOU HAVE, YOU CAN ALWAYS BE AN ARTIST.

YOU CAN TAKE BEETS AND ONIONS AND MAKE DYES.

YOU CAN TAKE PAPER THAT OTHER PEOPLE THROW AWAY, TURN IT INTO PULP, DRY IT.

MAKE PAGES THAT YOU COULD DO DRAWINGS ON AND THEN YOU CAN PUT THE PAGES TOGETHER AND MAKE BOOKS.

HER MOTHER TAUGHT HER ALL KINDS OF SOWING.

CROCHETING, KNITTING AND SOMETHING HER MOTHER CALLED BUTTON WORK.

AMINAH WAS THE MIDDLE OF THREE SISTERS.

SHE WOULD HAVE THEM TAKE BUTTONS AND THEN APPLY THEM TO MATERIAL.

AND THEN THEY WOULD USE THOSE TO SERVE AS ATABLE CLOTH OR DECORATE AN ARMCHAIR OR THE BACK OF A SOFA.

BUT FOR AMINAH, THOSE BUTTONS TOOK ON ANOTHER LIFE.

BECAUSE SHE BELIEVED THEY REPRESENTED THE SOULS OF THE PEOPLE -- OF THE CLOTHES FROM WHENCE THOSE BUTTONS CAME.

SHE HAD A COLLECTION OF QUITE FABULOUS BUTTONS THAT CAME FROM OTHER PARTS OF THE WORLD.

OFTEN FROM AFRICA.

I KNOW SHE PICKED UP QUITE A FEW WHEN SHE DID A RESIDENCY IN ISREAL.

SO THEY ADD A LAYER TO HER WORK.

A LAYER OF HUMANITY.

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>> OK, NOW I HAVE TO ASK YOU ABOUT HOG MOG.

WHAT IS IT?

HOW DID SHE MAKE IT?

>> WELL HOG MOG IS SOMETHING SHE COOKED UP ON THE STOVE.

AND IT WAS MIXTURE OF MUD AND LEAVES AND GRASS AND CLAY AND GLUE.

SHE WOULD USE IT IN THREE DIMENSIONAL OBJECTS.

SHE WOULD USE THIS IS AS A MODELING KIND OF CLAY LIKE SUBSTANCE.

BUT I THINK IT BRINGS GREAT EXPRESSION TO HER WORK.

AND SHE OFTEN USED IT FOR FACES.

FOR PEOPLE.

>> AND WHAT OTHER MATERIALS DID SHE BRING INTO HER ART?

>> SHE LOVED WORKING ON PARCHMENT.

SO SHE WOULD ORDER PARCHMENT FROM A COMPANY IN NEW YORK AND SHE WOULD DO LITTLE PIECES ON IT.

AND SHE WOULD ALSO DO BIG DRAWINGS.

>> SHE WOULD ALSO DO SOMETHING SHE CALLED MANUSCRIPT PAGES.

SO A LOT OF THE RESEARCH SHE DID, SHE WOULD MAKE IT HER OWN.

PERSONALIZE IT AND WRITE IT ON THESE PIECES OF PARCHMENT.

I THINK IT TIED HER TO MORE ANCIENT TRADITIONS -- OF ANCIENT BOOKS AND ANCIENT WRITING.

I THINK SHE FELT THAT CONNECTION IN THAT WORK.

>> AMINAH'S WORK IS SO MUCH ABOUT PEOPLE.

THE PEOPLE THAT SHE KNEW IN HER COMMUNITY, BUT ALSO FAR BEYOND THAT.

HELP US KNOW THE PROGRESSION IN HER PAINTINGS.

‘CAUSE THIS SECTION IS REALLY INTERESTING.

IT KIND OF SHOWS THE CONTINUUM.

>> RIGHT.

WELL, AMINAH OF COURSE DOCUMENTED HER VERY IMMEDIATE COMMUNITY.

AGAIN, WE TALKED ABOUT POINTDEXTER VILLAGE BEING A REAL IMPORTANT SUBJECT MATTER FOR HER.

AND DOCUMENTING HER UPBRINGING AND THE PEOPLE IN THAT IMMEDIATE COMMUNITY.

LIKE THE BROWNIE SKIN MAN WHO IS STANDING RIGHT HERE BETWEEN US.

THINK ABOUT MOUNT VERNON AVENUE IN THE 40S AND 50S AND MAYBE EVEN EARLIER.

BEFORE POINTDEXTER THERE WAS BLACKBERRY PATCH.

WHICH WAS ACTUALLY RAZED TO CREATE THE POINTDEXTER VILLAGE COMPLEX.

AND THE BLACKBERRY PATCH ALSO HAD THESE EARLY ENTREPRENEURS WHICH ARE STREET VENDORS.

IN MOST COMMUNITIES AROUND THE COUNTRY YOU HAD AN ICE MAN, OR YOU HAD AN UMBRELLA MAN OR YOU HAD A CHICKEN FOOT WOMAN OR MAN.

OR YOU HAD A BROWNIE SKIN MAN.

AND WE ALWAYS GET THE QUESTION ON TOURS, SO WHAT'S A BROWNIE SKIN?

IT'S NOT BECAUSE HIS SKIN WAS BROWN, THAT HE'S CALLED THE BROWNIE SKIN MAN.

LLL IT'S BECAUSE SOLD BROWNIE SKINS AND THOSE ARE PORK RINDS.

SO HE HAD THESE BAGS HANGING OFF OF HIM AND HE WAS SELLING THEM.

IN TYPICAL AMINAH FASHION SHE HAS A DRAWING IN THIS GALLERY WHERE SHE'S NOT ONLY DEPICTING THE BROWNIE SKIN MAN, SHE'S ALSO GIVING HIM WORDS.

AND HIS STREET CRY, WHICH IS THE NAME OF THIS GALLERY.

WHICH IS WHAT IS HE SAYING ON THE STREET?

WHAT IS HIS PERFORMANCE AS HE'S TRYING TO SELL HIS WARES.

>> BUT SHE ALSO DEPICTS SOME OF THE MORE SOMBER OR MORE SERIOUS PARTS OF LIFE.

THERE'S A COUPLE OF REALLY HAUNTING PAINTINGS IN THIS GALLERY THAT ARE LIKE THAT.

>> SOME OF THOSE WE FOUND AT THE VERY END OF RESEARCH AND ACTUALLY GOING THROUGH THE HOUSE.

AND IT WAS JUST SO TELLING.

IT'S LIKE THEY WERE SO BURIED AND KIND OF IN BOXES AND ROLLED UP.

AND THEN WE UNFOLD THEM AND SEE THESE KIND OF POIGNANT BUT LIKE YOU SAY -- HAUNTING FIGURES THAT WERE IN THE NEIGHBORHOOD.

THESE ARE PEOPLE SHE SAW ON THE REGULAR BASIS AND SHE WANTED TO GIVE VISIBILITY TO THOSE PEOPLE THAT WOULD BE INIVISIBLE.

THESE WOULD BE THE PEOPLE WHO WERE POOR AND DESTITUTE.

PEOPLE WHO WERE RIDING BAREFOOT TO WORK ON THEIR BIKES.

PEOPLE WHO WERE NAKED ON THE STREET.

LIKE ON A STREET CORNER, HUDDLED IN THE COLD.

AND SHE NAMED THEM, SHE SAID WHERE THEY WERE.

SHE DOCUMENTED AND MADE FOREVER PRESERVED THE DIGNITY OF THE PEOPLE.

THAT WOULD OTHERWISE BE IGNORED.

>> YEAH, AND CAROL, SHE DIDN'T SHY AWAY FROM SHOWING THE DIFFICULTIES, THE HARSHNESS OF -- EVEN THE HISTORY BEHIND IT.

>> EXACTLY SO SHE HERSELF WENT THROUGH A PERIOD OF TIME WHEN SHE HAD TO ACTUALLY GO ON WELFARE AND I THINK THAT'S WHEN SHE REALLY CAME TO EMPHASIZE WITH PEOPLE THAT ARE HOMELESS OR IN TERRIBLE FINANCIAL SITUATIONS.

SHE IN FACT SAID WHEN SHE WAS ON WELFARE, SHE EQUATED IT TO BEING IN PRISON, OR EVEN ENSLAVED.

SO IT WAS A VERY DEHUMANIZING KIND OF THING FOR HER, BUT I THINK IT GAVE HER THIS GREAT RESPECT AND EMPATHY FOR ALL PEOPLE.

>> RIGHT.

>> AND THERE WERE ARTIST THAT WERE AROUND HERE.

I AM STANDING HERE LOOKING AT ELIJAH PIERCE.

WHAT WAS THAT RELATIONSHIP LIKE?

>> WELL DURING THIS TIME, ESPECIALLY WHEN SHE WAS GOING THROUGH THIS DIFFICULT TIME, HE WAS A GREAT SOURCE OF STRENGTH FOR HER.

HE LIVED AROUND THE CORNER AFTER SHE MOVED FROM POINTDEXTER TO HER PRESENT HOUSE ON SUNBERRY ROAD AND THEY WOULD LONG WALKS TOGETHER.

YOU KNOW HE WAS A WONDERFUL, NATIONALLY KNOWN FOLK ARTIST, AND SHE GREATLY RESPECTED HIS WORK.

BUT ALSO HIS DAY JOB WAS BEING A BARBER AND THE BARBER SHOP WAS RIGHT AROUND THE CORNER FROM THE MUSEUM AND SHE WOULD GO THERE AND SKETCH FOR HIM SOMETIMES.

AND ELIJAH PIERCE IS ACTUALLY CARVING A SMALL ANIMAL FOR AMINAH'S YOUNG SON SIDNEY.

>> SHE HAD A PROFOUND CONNECTION TO WITH EVENTS THAT WERE GOING ON AROUND HER.

ESPECIALLY FOR AFRICAN AMERICAN PEOPLE AND THE STRUGGLE THAT WAS GOING ON IN THIS COUNTRY.

>> SO ANOTHER ONE OF THE STREET CRIES WE WANTED TO HAVE REPRESENTED IN THIS GALLERY WAS AMINAH'S HISTORICAL REVIEW OF THE PLIGHT OF AFRICAN AMERICAN PEOPLE AND THE STRUGGLE THAT AFRICAN AMERICAN PEOPLE HAD TO ENDURE IN THIS VERY COMMUNITY, BUT OF COURSE UNIVERSALLY THROUGH OUT THE COUNTRY.

AND THIS PARTICULAR PIECE IS AN HISTORIC MOMENT.

IT'S PARTICULARLY ABOUT A PROTEST OF LINCOLN THEATER.

NOW SOME PEOPLE WILL SAY, WELL WHY WOULD AFRICAN AMERICAN PEOPLE BE PROTESTING LINCOLN THEATER?

WELL, AMINAH DID THE RESEARCH AND SHE DOCUMENTS IN THIS VERY PIECE THAT THIS WAS A PROTEST, NOT NECESSARILY ABOUT LINCOLN THEATER -- BECAUSE LINCOLN WAS ACTUALLY INTEGRATED AT THE TIME, BUT THE COMPANY THAT OWN LINCOLN THEATER HAD OTHER THEATERS AROUND THE CITY THAT WERE NOT INTERGRATED.

SO IT WAS A SEGREGATED EXPERIENCE FOR AFRICAN AMERICAN PEOPLE.

SO THIS PARTICULAR VANGUARD LEAGUE, WHICH IS A HISTORIC SORT OF URBAN LEAGUE ORGANIZATION FROM 1941.

THEY WERE PROTESTING LINCOLN THEATER.

SO THAT GIVES YOU AN INSIGHT INTO THE MIND OF THIS HISTORIAN.

>> THE THING THAT IMPRESSES ME IS THAT SHE NOT ONLY DOCUMENTS HISTORY.

SHE BRINGS YOU TO SUCH A RANGE OF EMOTIONS AS YOU GO THROUGH DIFFERENT PERIODS FROM NOT ONLY HER LIFE, BUT FROM AFRICAN AMERICAN HISTORY.

TAKE US THROUGH SOME OF WHAT WE ARE SEEING.

BECAUSE THIS PIECE RIGHT HERE -- THIS IS VERY EMOTIONAL IN ITSELF ABOUT THE MIDDLE PASSAGE.

>> AMINAH COINED A TERM, "RAGGIN' ON" THAT SHE APPLIED TO SOME OF HER MOST COMPLEX AND IMPORTANT WORK.

ONE OF THEM IS BACK HERE AND IT'S CALLED "DAD'S JOURNEY."

IN THAT PIECE, WHICH SHE BELIEVED IT COULD TAKE YEARS TO ACTUALLY COMPLETE, IF EVER COMPLETING -- IT WAS THIS IDEA OF RAGGIN' ON AND ON.

THE IDEA THAT SHE COULD ADD TO IT WITH LAYERS, MAYBE MORE FOUND OBJECTS.

SHE HAS POCKETS WHERE SHE PUTS BOOKS.

BUT ALSO WHAT WE, WHAT OUR THAT IT'S THIS ONGOING STORY THAT RAGS ON AND ON.

THIS PARTICULAR PIECE, REALLY IT'S PROBABLY ONE OF HER MOST IMPORTANT WORKS.

IT'S CALLED "DAD'S JOURNEY" BUT IT COULD BE ABOUT MANY, MANY PEOPLES JOURNEYS.

IT BEGINS IN AFRICA BEFORE SLAVERY.

IT ENCOMPASSES THE HORRORS OF BEING KIDNAPPED IN AFRICA.

OF PEOPLE MADE TO ENDURE THE MIDDLE PASSAGE.

THEIR ENSLAVEMENT IN THE AMERICAS EMANCIPATION AND THEN THE GREAT MIGRATION NORTH AND TO OTHER PARTS OF THE COUNTRY.

AMINAH HAS THIS DRIVE TO MEMORIALIZE THE PEOPLE THAT DIDN'T MAKE IT MAKE IT, WEREN'T ABLE TO SURVIVE, BUT SHE'S ALSO HONORING THE PEOPLE THAT DID.

SO THAT FAMILIES LIKE HERS WOULD SOMEDAY END UP IN PLACES LIKE COLUMBUS OHIO AND THRIVE.

AND THEN IN ONE OF THE POCKETS IN THIS PIECE CALLED "DAD'S JOURNEY" WAS IN FACT IN THIS PIECE WHICH IS A LITHOGRAPH THAT HAS BEEN HAND PAINTED ON HOMEMADE PAPER THAT AMINAH MADE HERSELF.

IT'S CALLED "NIGHTMARE OF HORRORS" AMINAH WAS REAL STUDENT OF AFRICA AND AFRICAN AMERICAN HISTORY.

AND SHE KNEW THAT DURING THE MIDDLE PASSAGE MANY PEOPLE CHOSE TO JUMP OVERBOARD BECAUSE THE CONDITIONS WERE SO HORRIFIC DURING THIS VOYAGE FROM AFRICA TO THE AMERICAS.

SO AMINAH WANTED TO REALLY MEMORIALIZE THOSE FOLKS, BUT ALSO HONOR THOSE WHO MADE IT.

SOMEHOW WERE ABLE TO SURVIVE.

SO ONE OF THE SERIES SHE DID LATER IN HER LIFE WAS CALLED "PRESIDENTIAL SUITE" AND I THINK ONE THAT IS VERY MOVING IS CALLED "WINGS OF OUR ANCESTORS."

AND IN IT, AMINAH IS AGAIN DOCUMENTING THE FACT THAT ENSLAVED MEN HELPED BUILD WHAT WOULD BECOME THE SYMBOL OF AMERICAN DEMOCRACY AND FREEDOM.

THE CAPITOL IN WASHINGTON D.C.

THE WHITEHOUSE AS WELL.

>> WE FOUND THIS LOVELY PAINTING, BUT IT'S EMBELLISHED WITH BUTTONS AND BEADS.

AND IT'S A RAG PAINTING AS SHE WOULD CALL A COLLAGE WORK.

WE HAVE THE OBAMA FAMILY BEING LED THROUGH THE ROSE GARDEN BY THEIR DOG, BO.

AND IT'S JUST SO BEAUTIFUL.

YOU SEE THE LIGHTNESS, YOU SEE THE LAYERING OF COLOR.

YOU SEE THE MOVEMENT AGAIN IN THE GIRLS DRESSES.

AGAIN, IT COMES BACK TO THAT EARLY RESPECT AND APPRECIATION FOR FAMILY.

FAMILY AND COMMUNITY.

SO NO MATTER HOW HIGH UP THIS FAMILY HAS GONE.

AND THIS BLACK FAMILY HAS RISEN TO HIGHEST PLACE OF HONOR IN OUR UNITED STATES, YOU SEE THEM STILL CONGREGATING AT A FAMILY.

>> IT REMINDS ME, WHEN WE STARTED WE SAW THE CHAIR.

>> YES.

>> YOU KNOW THE NAME OF THE CHAIR IS "GIFT OF LOVE."

AND IN THE CENTER IS AGAIN A FAMILY.

>> A FAMILY.

>> AND TO AMINAH THAT WAS THE BASIS OF COMMUNITY AND OF EVERYTHING.

>> HER LEGACY CONTINUES, IT ISN'T ENDING.

WHAT ELSE HAS SHE LEFT TO US?

>> ACTUALLY CAROL UNEARTHED IN HER JOURNAL THE HOPE THAT SHE HAD FOR HER HOME TO BECOME AN ARTIST RESIDENCY.

AND WITH THE WORK THE OF COMMUNITY MEMBERS, WITH THE MUSEUM AND NOW WITH GREATER COLUMBUS ART COUNCIL WE HAVE REALIZED THIS NOW WONDERFUL OPPORTUNITY FOR NATIONAL RESIDENT ARTISTS TO LIVE THERE FOR THREE MONTHS AT A TIME AND FOR LOCAL FELLOWS TO WORK THERE FOR THREE MONTHS AT TIME.

AND WE RECENTLY JUST LAUNCHED A WRITER SCHOLAR RESEARCH RESIDENCY, BECAUSE SHE WAS SUCH A PROLIFIC WRITER HERSELF.

>> YOU KNOW I AM JUST THINKING IT REALLY DOES JUST RAG ON AND ON.

>> THIS IS REALLY THE AMINAH ROBINSON LEGACY PROJECT BECAUSE IT HAS SO MANY INITIATIVES.

YOU KNOW THERE'S EXHIBITION.

THERE'S THE CATALOG, THE HOUSE, THE RESIDENCY.

THERE'S HER ARCHIVES AND LIBRARY THAT WE ARE NOT GOING TO BE DEALING WITH.

THE HOPE IS THAT IT WILL BE AVAILBE TO THE PUBLIC WHO CAN STUDY HER WORK.

>> IT DOES GO ON AND ON IN A VERY POSITIVE WAY.

>> IT HAS BEEN ABSOLUTELY WONDERFUL TALKING TO THE TWO OF YOU.

SO THANK YOU SO MUCH FOR HOSTING US AND WALKING US THROUGH SO WE CAN GET SOME ADDED INSIGHT ABOUT AMINAH ROBINSON AND "RAGGIN' ON."

>> THANK YOU.

>> AND OUR PLEASURE, THANK YOU.

>> TO LEARN MORE ABOUT AMINAH ROBINSON AND HER ARTWORK VISIT AMINAHSWORLD.ORG.

>> WELL THAT'S OUR SHOW, REMEMBER YOU CAN FIND ALL OF OUR STORIES ONLINE AT WOSU.ORG AS WELL AS ON OUR YOUTUBE CHANNEL.

FOR ALL OF US AT WOSU, I AM KATE QUICKEL, THANKS FOR WATCHING.

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SUPPORTING ARTS, ADVANCING CULTURE AND CONNECTING THE COMMUNITY TO ARTISTS.

EVENTS AND CLASSES AT COLUMBUSMAKESART.COM.