Memphis artist George Hunt was born in rural Louisiana, near Lake Charles, and his grandmother noted early in life that he had a special power to “see things.” In addition to large doses of indigenous music, one of the things he saw was the civil rights movement and that experience became a painting in 1997, which in turn, became a US Postage Stamp issued in 2005 as part of the United States Postal Service series, “To Form A More Perfect Nation.”
George Hunt was honored for his painting, “America Cares/Little Rock Nine” at ceremonies in Little Rock and Memphis. The paint was originally commissioned for the Central High School Museum, but first spent five years hanging in the White House in Washington, D.C. First Lady, Hillary Clinton, in a personal note to Mr. Hunt, wrote, “we are grateful that our visitors and staff have such a powerful image of hope and freedom to greet, inspire and inform them.”
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"I Am A Man II"
Hand-Pulled Serigraph
Image Size: 24 x 50
In 1968, in Memphis, Tennessee, the labor movement and the civil rights movement came together in a monumental struggle for human and public employee rights. On February 11, over 1,300 sanitation workers – nearly all were African American – went on strike demanding their basic rights to organize a union, to gain a living wage and to receive the respect and dignity due all working men and women. During the strike Dr. Martin Luther King, Jr. came to Memphis to support the workers but was tragically assassinated.
The above paragraph was taken from the Wayne State University website
"I Am A Man - III"
27" x 43"
A SERIGRAPH PORTFOLIO SERIES
BY GEORGE HUNT
CONTENT OF CHARACTER
"The Passage
represents a starting point for the shaping of the character of African American culture. In many African cultures, masks have been used to tell stories of historical events, adornment for warriors, and parts of costumes for various festivals. Mr. Hunt's "the Passage" embodies three masks representing the spirits of our ancestors who died during the Trans-Atlantic journey from Africa to America (The Middle (Passage). Conceptually, "The Passage" focuses on the idea that even though these ancestors did not make it to America physically, the content of their character, (hard work, love, respect, honor, and strength) survived the journey as it was passed on to their descendents born in America and other countries along the way from Africa.
"Leadership"
Leadership is a position of guidance. A leader should be honorable, trustworthy, longsuffering, service oriented and wise. Motivated by a passion and commitment to a vision, a leader inspires others to rise up, run with, stand tall, sit in, and even die for the vision of a people which emerges into a reality.
During the Civil Rights era, the Pullman Porters, the Clergy and other grass roots leaders having these traits were at the forefront of the struggle. In Mr. Hunt's, "Leadership", the Porter carries a sign with a dual message; painted right side up is the familiar slogan "We Shall Overcome"; at the bottom of the sign, there is a narrative from an African describing the pain and anguish of being confined to the cramped quarters of a slave ship. The bottom portion can only be read by placing oneself in an uncomfortable position.
The dual messages on the Porter's sign speaks loudly of the hope of a people still over coming, and the hardships suffered historically to have such a dream. One viewing does not yield the full concept of this masterful work. Each subsequent look sheds further insight into the concept of Leadership.
Legacy
In Mr. Hunt's "Legacy", on the surface we view a grandmother passing on her quilt-making skills to her grand-daughter. However, a deeper look reveals the loving elder passing down a legacy of wisdom as she interweaves traits of the true essence of character into the heart and mind of her grand-daughter, just as Mr. Hunt has skillfully collaged the quilt representing good character onto the original painting.
An important common thread, The Word of God, links these works of art together. The cross found in "The Passage", and "Leadership", and the small blue church house in the background of the "Legacy" represent the effect God's Word had on the character of people in the struggle. Mr. Hunt has said on many occasions, "The content of good character is derived from God's perfect will."
Cbabi Bayoc art work is created at the Bayoc Studio which is comprised of two individuals Cbabi (pronounced KUH-BOBBY) and Reine (pronounced RAIN) Bayoc. Cbabi is the visual element of this productive union, whose style has a movement and presence expressive of someone born to be creative. His technique has been labeled "caricaturist", because he plays off faces, putting strong emphasis on lips, noses, eyes, and all other body parts. Cbabi became a full time artist in 1995, after graduating from Grambling State University. Cbabi's name, which is an acronym for Creative Black Artist Battling Ignorance and Blessed African Youth of Creativity, allows others to realize his mission and blessing in life. Through his artwork, he is able to show the beauty in black faces and black life to all faces and all walks of life. Because of his respect for his craft, Cbabi allows his style to change as “it” desires. Because of this, he asks that you memorize his signature, instead of stitching him onto a particular look and genre. 
For over two decades, Charleston, South Carolinian, self-taught, mixed-media visual artist, Leroy Campbell has painstakingly captured the essence and emotion of god-fearing, self-reliant, proud, and intelligent subjects of his Gullah childhood through acrylic mix-media collage-on-canvas artworks that display a deliberate choice of vintage quilted fabrics, news print clippings, burlap, threads, and elements of southern terrain. Many call his work ‘old spirit art’ because each piece reflects community and memories of those that made a difference in his life. Fellowship and a strong community rank high in Campbell’s life priorities and he finds that powerful. In 1983 Campbell accidentally embarked upon a career as a visual artist. Campbell while in New York, visited The Studio Museum of Harlem exhibition of esteemed Charlotte, NC born African-American artist Romare Bearden whose works involved collage technique and consistently depicted African-American culture. It was then that Campbell began to reflect and appreciate his home even more. Campbell’s vision to tell his story was instilled and his first series, “The Neckbone Series” was born. His most recent series, “The Gullah Collection”, features news print as its most dominant feature. His use of newspaper signifies more than one denotation. On one hand, it represents the Gullah rituals of witchcraft to who by papering the walls of their houses with news print protected them against and rid of curses and dangerous spirits. Yet simultaneously the newspaper serves a time capsule, since upon a closer glance, the news clippings are excerpts from "The Black Chronicle" newspaper as compiled by the late documentarian Henry Hampton. Exemplified in pieces ‘Bear Paw’, ‘Endurance’, ‘Quiet Strength’, and ‘Piece of Mind’, “The Gullah Collection” triumphantly details the palpable, unwavering strength and perseverance of people of African ancestry during the late 1800's through mid 1960's. -
