science

Fiber, Ceramics

Feature: Elmer Lucille Allen


"I love the academic environment. I am a perpetual student." — Elmer Lucille Allen


Artist Elmer Lucille Allen ( Photo by Tom LeGoff)

Artist Elmer Lucille Allen (Photo by Tom LeGoff)

When Kentucky Center for African American Heritage Center Director Aukram Burton describes Elmer Lucille Allen as, “one of our Elders,” he is not just acknowledging that the ceramic and fiber artist is an Octogenarian. The term carries weight in various cultures, but in parts of Africa it specifically denotes a connection to ancestors, the dead who remain vested with mystical power in the kin-group, and the elder’s authority stems from the idea that they are representatives of the ancestors to the contemporary community.

Elmer Lucille Allen is as approachable and convivial as anyone you would ever meet, but she is a “senior” (the far less satisfying American appellation) who has never truly retired. She earned the gold watch, so to speak, after 31 years as a chemist at Brown-Forman, where she was the first African American chemist to be hired (in 1966). In the twenty years since she retired, she has established herself as one of the most important artists in Louisville and an important influence on succeeding generations.

In person, Ms. Allen is an archetypal matriarch, speaking in the unadorned but nurturing language you would expect from any great-grandmother. She exhibits little outward evidence of the depth of her academic background, the years spent as a community activist, and the position she occupies in local history; she never wears her ‘status’ on her sleeve. She puts it this way: “I take it as an honor because what I do is part of who I am.”

"Untitled ELA #5" by Elmer Lucille Allen, Shibori Wall Hanging Red Kona Cotton – Stitched Resist – Dyed Blue Price, $2000 |  BUY NOW

"Untitled ELA #5" by Elmer Lucille Allen, Shibori Wall Hanging Red Kona Cotton – Stitched Resist – Dyed Blue Price, $2000 | BUY NOW

“I became involved in the art scene in the early 1980s when Ken Clay, then head of Renaissance Development, held the first African American (AA) Arts Conference at the Galt House. After this conference, the Kentucky Coalition for Afro-American Arts, Inc. (KCAAA) was formed. I was the first and only president of this organization that lasted 10 years. When I decided that I did not want to continue as President, the treasury was donated to the Arts Council of Louisville. I was a charter member of the ACOL and a treasurer for four years.”

Ms. Allen states she has never felt a bias in the arts, but her history before she was an artist is another matter, and reflects the time. “Remember, I came up through a segregated system and did not have classes with a white person until I was a junior in college. I experienced racial difference when Nazareth College (now Spalding University) graduates in 1953 were looking for a place to host a graduation event. The event was eventually held at the Knights of Columbus Hall.”

“When I graduated I could not get a job as a chemist in Louisville. The only jobs available were teaching. My first job was as a clerk typist in Indianapolis, Indiana, at Fort Benjamin Harrison. There was bias on that job - one person from a city in Indiana had never been around a "colored" person, but you have to be who you are and stand up for what you believe. ‘Speak to a person even if the person does not acknowledge you.’” 

Allen took her first pottery class at Seneca High School in the late 1970’s after her children were all grown and out of the house. She never gave empty nest syndrome a chance, following up with mold ceramics or pottery classes through JCPS and New Albany adult education. But this was still just the beginning: “Then I enrolled in a ceramics class at Metro Arts Center where I studied with Melvin Rowe. Also, while I was a student there I had the pleasure to meet Laura Ross, a national ceramic artist who encouraged me to take classes at the University of Louisville with internationally recognized ceramicist Tom Marsh.”

But studying ad hoc wasn’t enough, and, after retiring she decided to seek a masters in ceramics at U of L. It was while studying for her master’s that she was introduced to a second art media - fiber/textiles. “My thesis exhibition consisted of stenciled wall hangings and over 200 reduction fired porcelain sculptural boxes that were placed on boards on the floor, which meant you had to view the pieces while standing.”

Lucille Allen in a workshop (Photo by Aron Conaway)

Lucille Allen in a workshop (Photo by Aron Conaway)

Whatever racial or gender restrictions she encountered in her earlier life, Allen’s first years in the art world were mostly lacking in such difficulties. “I have not experienced any discrimination as a woman artist or as an artist of color. My work does not depict any culture - it speaks for itself. I create work that I enjoy making. I do not do commissions. I have been fortunate because I did not have to depend on selling art for a living. I retired in 1997 and have been volunteering in some capacity ever since.”

Yet she is not blind that many artists of color find it a challenge to reach wider audiences and secure their place at the larger community table, particularly in the visual arts world. “I think that one organization needs to take control. At the present every organization's president has their own agenda and is not looking out for other persons or organizations, and small organizations normally do not have a specific place, computer equipment, or expertise for such large undertaking.” 

One of the values of being an Elder is that you have been a witness to the changes in the arts and cultural landscape that surrounds you. Allen can recount a time when there was much effort in the name of unity and inclusion. “Years ago, Louisville Visual Art had a large (non-digital) database of artists and arts organizations. The Kentucky Arts Council funded two directories of African American artists in the Commonwealth of Kentucky. Two conferences were held, one in Lexington, and one in Louisville. They conducted free workshops for the community at the Chestnut Street YMCA, West End branch of the YWCA, as well as other venues. Bale McKnight, who conducted drum making at the YMCA, created a drum that was in Chickasaw Park, which was the first public art project in the West End. KCAAA was the fiscal agent for Educations Arts and the dance group founded by Harlina Churn.” You see, Elders know the history.

So how does Louisville recapture that level of motivation again? What actions need to be taken today to build a functional community network? Allen feels, “Everyone is waiting for someone else to do the hard work,” but individuals who want to be leaders need to focus on developing their game in crucial ways; Elders also get to give advice:

  • Organizational and leadership skills are a must. 
  • You have to show up and be willing to assume responsibilities. 
  • You must not be afraid to fail. You learn from your mistakes.
  • You, as a leader, must be presentable and responsible for your actions at all times. Remember the golden rule - Do unto others as you want others to do to you.
  • You must be punctual.
  • Respect the time of others. Meetings should have an agenda and should not exceed two hours.
"Untitled ELA #2" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 |  BUY NOW

"Untitled ELA #2" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW

So how does this near-iconic status affect Elmer Lucille Allen’s work as an artist? Or does it? “My work is not impacted by my place in history,” states Allen. ”The work that I have done since 1981 speaks for itself. I have been the volunteer curator/director of Wayside Christian Mission's Wayside Expressions Gallery since 2005.  My goal is to showcase artists, some of which have never exhibited. My second goal has been to have an African American artist or artists for February. I have done the scheduling, press releases, fliers, finding new artists, etc., from my home. I think my presence in the art world has afforded me the opportunity to be asked to serve as judge for the 2016 Fund for Arts, as a panelist for Metro arts grants, etc.”

“I think that over the years, the community sees who is where and what you are doing. Action speaks louder then words.”

You can see Elmer Lucille Allen’s work as a part of the Louisville Visual Art exhibit Tessile Ora, at Metro Hall, now through May 26, 2017. 

Recognitions/Awards: 
Louisville Defender – Lifetime Community Service Recognition Award (2016)
Outstanding Community Leader by Metro Council (2016) 
Kentucky Museum of Art and Craft’s First Art and Advocacy Award – Bourbon Bash (2015) 
Parkland Rising Up Project (2015) 
Community Spirit Award given by the University of Louisville College of Arts and Science and the Yearlings Club (2015) 
Spalding University Caritas Medal (2011) - the highest honor awarded to an alumnus 

"Untitled ELA #4 – Shibori Wall Hanging" by Elmer Lucille Allen, Natural Silk Noil – Three Panels - Stitched Resist and Pole Wrapped – Dyed Blue, $1000 |  BUY NOW

"Untitled ELA #4 – Shibori Wall Hanging" by Elmer Lucille Allen, Natural Silk Noil – Three Panels - Stitched Resist and Pole Wrapped – Dyed Blue, $1000 | BUY NOW

"Untitled ELA #1" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 |  BUY NOW

"Untitled ELA #1" by Elmer Lucille Allen, Stenciled Wall Hanging Black Polyester Fabric Price, $750 | BUY NOW


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.


Entire contents copyright © 2016 Louisville Visual Art. All rights reserved.

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Installation, Mixed Media, Painting

Vignette: Lennon Michalski

"Ghost Bike" Installation by Lennon Michalski (2016)

"Ghost Bike" Installation by Lennon Michalski (2016)

In a body of work entitled Ghost Bike, Lennon Michalski explores the relationship between man and machine, expressing a complex array of themes, most importantly, the tyranny of technology and the fragility of the human form.

“Ghost Bike takes a specific look at Motorcycles, considering the uniqueness that describes the machine, the man that chooses to indulge in that machine, and the nature of their relationship,” says Michalski. “The imagery in the series considers motorcycle accidents to represent their dangerous cultural association. I specifically chose the motorcycle, the imagery, and popular icons to reflect my personal engagement with this idea. My grandfather was killed on a motorcycle, and this has largely inspired these pieces in the hopes of bringing attention to the motorcycle to provide an understanding of their own distinctive culture.”

"Wrecked Bike"   by Lennon Michalski, 36 x 48 x 84 in, Honda Motorcycle and paint (2016) |  Photograph by Brian Campbell

"Wrecked Bike" by Lennon Michalski, 36 x 48 x 84 in, Honda Motorcycle and paint (2016) | Photograph by Brian Campbell

Michalski in his studio | Photograph by Adam Brester

Michalski in his studio | Photograph by Adam Brester

“Even when these tragedies strike, society often places blame on the cyclist, for they, have willingly put them selves in harm’s way. Motorcycles are largely considered unsafe and rebellious in the eyes of the public because of the sense of vulnerability and danger associated with motorcycles. In an effort to define the broad spectrum of this machine’s interaction with the human condition, I sought to understand why so many individuals crave to connect with it. I realized that engagement with motorcycles cultivated an undeniable sense of community. Motorcyclists feel passionately about their investment in this machine, creating a strong bond between, not only the machine and its owner, but also everyone who rides. In order to incorporate this idea of community, I created works that also represent this aspect of motorcycle culture. I examine the documentation of a group of cyclists traveling cross-country to pay tribute to the fallen. Rather than viewing the death of the biker as a careless rebel, he is considered a fallen hero, who deserves the greatest of respect. Within the motorcycle community there is boundless devotion, which allows for the machine to act as a tool in eliciting genuine human interaction.”

"Wreck" by Lennon Michalski, 72 x 108 in, water based pigment and mixed medium on canvas (2016)

"Wreck" by Lennon Michalski, 72 x 108 in, water based pigment and mixed medium on canvas (2016)

In his paintings, Michalski often uses his hands directly in applying the medium, building transparent layers that evoke a passage of time. “My paintings are not objects assembled by machines or other individuals; I develop a bond and communicate through the development of each work. This technique is based on a physical language; by pushing the paint with my hands, I am infusing my energy into the gestures. I learn something new from each piece allowing my process to open doors I would have never thought to walk through. Through the creation of digital work, paintings, and sculpture, I hope to bring attention to the motorcyclist so that the sense of community motorcycle culture creates can continue to thrive. The motorcycle acts as a metaphor to represent the motorcyclist himself, with the engine acting as the heart of the individual, and the community. While many have fallen victim to the unpredictability of this machine, it uniquely acts as a tool to cultivate relationships, activate commitment, and instill a sense of community.”

Michalski also just self published a children's book called "How Penguins Save Television," a story that explores what it means for society as it attempts to evolve with the aid of science and innovation. The book engages children with the natural world around them through technological modifications, such as the jetpack.

Since 2008 Michalski has been an Instructor of Digital Media, Drawing, and 2D Design at the University of Kentucky.

Hometown: Lexington, Kentucky
Age: 36
Education: BFA in Painting, Eastern Kentucky University 2004; MFA in Painting and Digital Media, University of Colorado at Boulder, 2006
Website: http://www.lennonmichalski.com

"Stoplights" by Lennon Michalski, 72 x 108 in, water based pigment and mix medium on canvas (2016)

"Stoplights" by Lennon Michalski, 72 x 108 in, water based pigment and mix medium on canvas (2016)

"Heart" by Lennon Michalski, 72 x 108 in, water based pigment and mixed medium on canvas (2016)

"Heart" by Lennon Michalski, 72 x 108 in, water based pigment and mixed medium on canvas (2016)

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

Are you interested in being on Artebella?    Click here    to learn more.

Are you interested in being on Artebella? Click here to learn more.