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    Harold Smith
    497 views36 pages
    This book is a listing my new artworks from the "Men of Color" series. My website is http://www.haroldsmithart.com. I consider these works to be kind of a homage to African American men, where we are from, where we are going, how the condition of the black male in America reflects upon the black family as a whole. An Interview with Jazz Painter Harold Smith, Jr. By Christina Royster-Hemby Forty-five year old Kansas City resident, Harold Smith, Jr., knows how to make jazz rhythms crescendo on canvas. He has been painting works of art in his spare time for the last 35 years. Through his side-hustle (Smith is a teacher by day), he is able to translate jazz notes for objective observers and with paint give birth to the most natural relationship between iconic jazz tunes and the icons themselves - like Coltrane, Monk, Davis and more. A trip to his website, simply titled, www.haroldsmithart.com, bears this out, along with press articles and an exhibition schedule and a banging virtual gallery on flickr. His works are a cacophony of dissonant colors, tones and textures that together make for a perfect express ionistic jazz tune. Q. Describe your relationship with jazz. When did you fall in love with it? And when you connect with it emotionally and spiritually? How does it make you feel? A. I listened to a lot of jazz growing up, and I had a favorite uncle who was a jazz musician. I fell in love with jazz when I was still in elementary school, I just didn’t realize it. When I connect with jazz, I feel a sense of freedom, belonging and acceptance as jazz represents individual expression within the context of group expression. Q. Who are your top three jazz artists? A. Tough one. Right now, I am listening to lot of Coltrane, as always. I am also digging Christian Scott and Esperanza Spalding. She’s incredible. Q. What has compelled you to re-create jazz on canvas? A. Just a desire to express the energy and spirit I feel in jazz, almost like an outlet. Q. From the intensity of your work, in my mind’s eye I see you alone in a room creating with Dizzy, Bird or Monk blasting, getting you caught up artistically. Do you paint to jazz music? Recreate the scene when it’s you alone in a room with your canvas and your paintbrush. A. Yes, I paint to jazz a lot. I’ll put some jazz on the CD player, listen for a while, maybe sketch a bit and just let it happen. Q. What motivates you to paint in general. Do you focus only on jazz themes? A. I also paint some socially conscious art and some afrocentric art. I think it’s all about expression — a desire to get it out of my soul and connect it with others. Q. What do you like most about your work? What do you like least? How does this shape your being an artist? A. Another tough question. I like that I enjoy doing it. It just comes naturally and easily for me. What do I like the least? The fact that a lot of paintings are stacking up in my home and not in other people’s homes. I think it makes it a bit more of a struggle to let go because in the back of my mind I wonder if a new work will just end up sitting in the house. Q. If you had the chance to meet one jazz great, who would you choose and why? A. I’d like to meet Duke Ellington. He was a man who had a very high barometer of quality, had seen America at it’s worst in terms of race relations but did not let it poison his work and still managed to make a musical statement (”Black, Brown, and Beige”). [He also] felt that he was a representative of his people and was determined to convey excellence in his lifestyle to represent us. That’s beautiful and I’d just like to talk to him about it. Plus, he really knew how to wear a suit! Q. Which African-American (or other) painter has most influenced your work and why? A. Hmmmm, another tough one. I think the artist that has most influenced me is Matisse with his brave and adventurous use of color. Q. If you had to choose between painting and jazz,

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    This book is a listing my new artworks from the "Men of Color" series. My website is http://www.haroldsmithart.com. I consider these works to be kind of a homage to African American men, where we are from, where we are going, how the condition of the black male in America reflects upon the black family as a whole. An Interview with Jazz Painter Harold Smith, Jr. By Christina Royster-Hemby Forty-five year old Kansas City resident, Harold Smith, Jr., knows how to make jazz rhythms crescendo on canvas. He has been painting works of art in his spare time for the last 35 years. Through his side-hustle (Smith is a teacher by day), he is able to translate jazz notes for objective observers and with paint give birth to the most natural relationship between iconic jazz tunes and the icons themselves - like Coltrane, Monk, Davis and more. A trip to his website, simply titled, www.haroldsmithart.com, bears this out, along with press articles and an exhibition schedule and a banging virtual gallery on flickr. His works are a cacophony of dissonant colors, tones and textures that together make for a perfect express ionistic jazz tune. Q. Describe your relationship with jazz. When did you fall in love with it? And when you connect with it emotionally and spiritually? How does it make you feel? A. I listened to a lot of jazz growing up, and I had a favorite uncle who was a jazz musician. I fell in love with jazz when I was still in elementary school, I just didn’t realize it. When I connect with jazz, I feel a sense of freedom, belonging and acceptance as jazz represents individual expression within the context of group expression. Q. Who are your top three jazz artists? A. Tough one. Right now, I am listening to lot of Coltrane, as always. I am also digging Christian Scott and Esperanza Spalding. She’s incredible. Q. What has compelled you to re-create jazz on canvas? A. Just a desire to express the energy and spirit I feel in jazz, almost like an outlet. Q. From the intensity of your work, in my mind’s eye I see you alone in a room creating with Dizzy, Bird or Monk blasting, getting you caught up artistically. Do you paint to jazz music? Recreate the scene when it’s you alone in a room with your canvas and your paintbrush. A. Yes, I paint to jazz a lot. I’ll put some jazz on the CD player, listen for a while, maybe sketch a bit and just let it happen. Q. What motivates you to paint in general. Do you focus only on jazz themes? A. I also paint some socially conscious art and some afrocentric art. I think it’s all about expression — a desire to get it out of my soul and connect it with others. Q. What do you like most about your work? What do you like least? How does this shape your being an artist? A. Another tough question. I like that I enjoy doing it. It just comes naturally and easily for me. What do I like the least? The fact that a lot of paintings are stacking up in my home and not in other people’s homes. I think it makes it a bit more of a struggle to let go because in the back of my mind I wonder if a new work will just end up sitting in the house. Q. If you had the chance to meet one jazz great, who would you choose and why? A. I’d like to meet Duke Ellington. He was a man who had a very high barometer of quality, had seen America at it’s worst in terms of race relations but did not let it poison his work and still managed to make a musical statement (”Black, Brown, and Beige”). [He also] felt that he was a representative of his people and was determined to convey excellence in his lifestyle to represent us. That’s beautiful and I’d just like to talk to him about it. Plus, he really knew how to wear a suit! Q. Which African-American (or other) painter has most influenced your work and why? A. Hmmmm, another tough one. I think the artist that has most influenced me is Matisse with his brave and adventurous use of color. Q. If you had to choose between painting and jazz,

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    497 views36 pages

    Men of Color Series

    Uploaded by

    Harold Smith
    This book is a listing my new artworks from the "Men of Color" series. My website is http://www.haroldsmithart.com. I consider these works to be kind of a homage to African American men, where we are from, where we are going, how the condition of the black male in America reflects upon the black family as a whole. An Interview with Jazz Painter Harold Smith, Jr. By Christina Royster-Hemby Forty-five year old Kansas City resident, Harold Smith, Jr., knows how to make jazz rhythms crescendo on canvas. He has been painting works of art in his spare time for the last 35 years. Through his side-hustle (Smith is a teacher by day), he is able to translate jazz notes for objective observers and with paint give birth to the most natural relationship between iconic jazz tunes and the icons themselves - like Coltrane, Monk, Davis and more. A trip to his website, simply titled, www.haroldsmithart.com, bears this out, along with press articles and an exhibition schedule and a banging virtual gallery on flickr. His works are a cacophony of dissonant colors, tones and textures that together make for a perfect express ionistic jazz tune. Q. Describe your relationship with jazz. When did you fall in love with it? And when you connect with it emotionally and spiritually? How does it make you feel? A. I listened to a lot of jazz growing up, and I had a favorite uncle who was a jazz musician. I fell in love with jazz when I was still in elementary school, I just didn’t realize it. When I connect with jazz, I feel a sense of freedom, belonging and acceptance as jazz represents individual expression within the context of group expression. Q. Who are your top three jazz artists? A. Tough one. Right now, I am listening to lot of Coltrane, as always. I am also digging Christian Scott and Esperanza Spalding. She’s incredible. Q. What has compelled you to re-create jazz on canvas? A. Just a desire to express the energy and spirit I feel in jazz, almost like an outlet. Q. From the intensity of your work, in my mind’s eye I see you alone in a room creating with Dizzy, Bird or Monk blasting, getting you caught up artistically. Do you paint to jazz music? Recreate the scene when it’s you alone in a room with your canvas and your paintbrush. A. Yes, I paint to jazz a lot. I’ll put some jazz on the CD player, listen for a while, maybe sketch a bit and just let it happen. Q. What motivates you to paint in general. Do you focus only on jazz themes? A. I also paint some socially conscious art and some afrocentric art. I think it’s all about expression — a desire to get it out of my soul and connect it with others. Q. What do you like most about your work? What do you like least? How does this shape your being an artist? A. Another tough question. I like that I enjoy doing it. It just comes naturally and easily for me. What do I like the least? The fact that a lot of paintings are stacking up in my home and not in other people’s homes. I think it makes it a bit more of a struggle to let go because in the back of my mind I wonder if a new work will just end up sitting in the house. Q. If you had the chance to meet one jazz great, who would you choose and why? A. I’d like to meet Duke Ellington. He was a man who had a very high barometer of quality, had seen America at it’s worst in terms of race relations but did not let it poison his work and still managed to make a musical statement (”Black, Brown, and Beige”). [He also] felt that he was a representative of his people and was determined to convey excellence in his lifestyle to represent us. That’s beautiful and I’d just like to talk to him about it. Plus, he really knew how to wear a suit! Q. Which African-American (or other) painter has most influenced your work and why? A. Hmmmm, another tough one. I think the artist that has most influenced me is Matisse with his brave and adventurous use of color. Q. If you had to choose between painting and jazz,

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    of 36

    Harold Smith

    Harold Smith
    The Men of Color Series

    1
    Art is a sacred thing. Long after we have made transition, the 
    works of artists speak to those still on the journey.  Their 
    language transcends words and emotions itself.  

    It s the echoes of Olatunji
    It’s the echoes of Olatunji’ss drums, reverberating through 
    drums reverberating through
    time. 

    Art speaks.

    Will we listen?
    e se

    2
    Context

    3
    I grew up in an extended family with a strong male presence.

    That was a long time ago.  

    4
    Every summer we had a family picnic at Gage Park in Topeka.

    Family members from Kentucky to Los Angeles would be there.

    As the older members passed on, so did the picnic.

    5
    100 years from now…

    When they talk about the 
    end of the black family….
    end of the black family….

    What will they say?

    6
    After Pearl Harbor was bombed, my 
    father and his brothers (Leroy, Bernard, 
    Johnny) volunteered to serve in a 
    segregated armed forces.
    d df

    7
    8
    9
    Artwork

    10
    Crown
    24” x 18”
    Acrylic and Oil on Paper

    11
    Bishop
    24” x 18”
    Acrylic and Oil on Paper

    12
    New Suit
    New Suit
    24” x 18”
    Acrylic and Oil on Paper

    13
    Roman Collar
    Roman Collar
    24” x 18”
    Acrylic and Oil Paper

    14
    A Blues for Jackie
    A Blues for Jackie
    24” x 18”
    Acrylic and Oil on Paper

    15
    Ruby Rhythm
    Ruby Rhythm
    24” x 18”
    Acrylic and Oil Paper

    16
    City Bass
    City Bass
    24” x 18”
    Acrylic and Oil on Stretched Canvas

    17
    Contemplation
    30” x 15”
    Acrylic and Oil on Stretched Canvas

    18
    Duo
    30” x 15”
    Acrylic and Oil on Stretched Canvas

    19
    Duo II
    30” x 15”
    Acrylic and Oil on Stretched Canvas
    20
    Introspection
    30” x 15”
    Acrylic and Oil on Stretched Canvas
    21
    Profile and Forward
    Profile and Forward
    30” x 15”
    Acrylic and Oil on Stretched Canvas
    22
    Profile and Forward II
    30” x 15”
    Acrylic and Oil on Stretched Canvas
    23
    Man of Color I
    24” x 18”
    Acrylic and Oil on Paper

    24
    Man of Color II
    24” x 18”
    Acrylic and Oil on Paper

    25
    Man of Color III
    Man of Color III
    24” x 18”
    Acrylic and Oil on Paper
    26
    Man of Color IV
    Man of Color IV
    24” x 18”
    Acrylic and Oil on Paper

    27
    Man of Color V
    24” x 18”
    Acrylic and Oil on Paper

    28
    Jazz T alk: Miles
    24” x 18”
    Acrylic and Oil on Paper

    29
    Duke: The World Is Listening
    24” x 18”
    Acrylic and Oil on Paper

    30
    Integration
    24” x 18”
    Acrylic and Oil on Paper

    31
    Morning Coffee
    18” x 24”
    Acrylic and Oil on Paper

    32
    Biography

    Harold Smith is one of the most uniquely recognizable voices in 21st century 
    Harold Smith is one of the most uniquely recognizable voices in 21 century
    black expressionism painting.  His work has been collected on an international 
    level for the last 10 years and is a favorite among academic collectors. 
    Harold has shown in public and private galleries in the Midwest and on both 
    coasts and his imagery has been used by Whitworth College for its jazz 
    concert series.
    Harold was born and raised in the Kansas City area. He has lived in Kansas, 
    Nebraska, Alabama and Bermuda.  He has received Associates, Bachelors, and 
    Master’s degrees in Computer Technology and Education.
    Harold has been an educator for over 23 years, working primarily with urban 
    students in the areas of business, computer technology, and art.
    , p gy,

    33
    Statement

    Thoughts and impressions of this journey cross my mindscape like the fading 
    Thoughts and impressions of this journey cross my mindscape like the fading
    golden haze of a cool fall dusk.  I attempt to grasp these, with brush and canvas 
    and somehow capture just a little bit of their essence and place it on the canvas or 
    paper.

    In that regard I humbly see artisans as the recorders of history


    In that regard, I humbly see artisans as the recorders of history. 

    Artists walk in the tradition of those servants who carved hieroglyphs into the 
    Egyptian limestone; artists speak in the tradition of those courageous slaves who 
    gathered under threat of tortuous death, to pass on the stories and legends of a 
    motherland so far away
    motherland so far away

    Black art is black expressionism.  It is somehow cataclysmic  yet euphoric, an apex 


    of joy and pain, triumph and defeat, steely fatalism and foolish optimism in the 
    face of that most grim.

    Art is a sacred thing. Long after we have made transition, the works of artists 
    speak to those still on the journey.  Their language transcends words and emotions 
    itself.  It’s the echoes of Olatunji’s drums, reverberating through time. 

    Art speaks
    Art speaks.

    Will we listen?

    34
    Selected Exhibitions

    2000
    • Kansas City Kansas Public Library
    2001
    • Kansas City Kansas Public Library
    • Corridor Art Space
    • San Francisco Public Library
    2002
    • Kansas City Kansas Public Library
    2006
    • Montanaro Gallery
    • MYART Gallery
    • Nobis Gallery
    2007
    • Paseo Gallery
    • Montanaro Gallery
    2008
    • M t
    Montanaro G ll
    Gallery
    • TownHouse Gallery
    • Faso Gallery
    2009
    • Montanaro Gallery
    • Faso Gallery
    Faso Gallery

    35
    Contact

    www haroldsmithart com


    www.haroldsmithart.com

    harold@haroldsmithart.com

    36

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