Art

Lost art of Mora – 'Sojourner' sculpture vandalized

2013-05-07T22:13:21Z

The local arts community recently discovered that the public artwork 'Sojourner' on 13th and K Street had been vandalized. The sculpture was found pushed off its pedestal on January 6, 2013. The sculpture, a 7ft. Mexican limestone work of art by Master Artist Elizabeth Catlett Mora, was broken into several pieces. Unfortunately the artist cannot repair this treasured work. Catlett died last year on April 2, 2012.

The breaking news originally appeared on the blog "Sacramento Pedestrian Art." At the time, there was very little additional information provided on the developing story. And, by the time this article is published The Sacramento Metropolitan Arts Commission (SMAC) is expected to have updates on the repair and restoration progress. The arts community can visit the SMAC website http://www.sacmetroarts.org/ for updates.

The future home of the sculpture is as yet uncertain. In fact, as told to the Sacramento Observer Newspaper, SMAC is considering a new location for the sculpture once repairs are completed. This is bittersweet, as 'Sojourner' was a mainstay on K street for several years and a staple of downtown public art. The safety of the art is of primary importance.

Relocation may turn out to be the best option in this case, considering the longterm changes the downtown area is undergoing – plans for the new entertainment arena, overhaul construction to reinvigorate K Street, and inevitably the influx of new businesses that will arrive. Yes, downtown will be an even more high traffic area. Yet, the challenging task may be to find a place that will provide suitable exposure of the art to the public while ensuring its protection.

At the core of the incident is preservation of art – its integrity, creation, education and cultural legacy. And, if we look close enough, this is a rare teacheable moment.

It is important to emphasize that art created by an artist that is no longer living possesses truly unquantifiable value. The artist's body of work is considered irreplaceable. Special attention is given to artists who have mastered a lifetime of achievement in contribution to the arts. A Master Artist is considered prolific, exceptional, and celebrated. The presence of 'Sojourner' at the State Capitol speaks volumes – it attests to Catlett's support of arts and culture, both locally and in our region.

Art is a very special gift that crosses ethnicities and languages. It is a derivative of humanity, a record of human experience, a form of communication and serves as a cultural ambassador. I know that Elizabeth Catlett Mora understood these immutable truths of art. The evidence is found in her lifetime of accomplishments and in the body of work she left behind for the world to enjoy.

Sacramento is extremely fortunate to have one of her works displayed.

Sacramento art supporters can breathe a sigh of relief after SMAC's plans to repair the damaged art are underway and the final selection of the conservation expert is completed. Then, we all will anticipate the new installment of 'Sojourner' – a symbol of endurance, strength, pride, heart, beauty and more – that goes beyond mere sentimental value. In fact, it is the proverbial 'steel' of the character in our soul that everyone aspires to embody and exude.

Editor’s note: The “News Digest” goes out every Tuesday morning and highlights our best stories, photos and videos from the week prior. Sign me up.

True Crime: 'The Homicidal Handyman Of Oak Park'

2012-11-21T14:00:17Z

"The Homicidal Handyman of Oak Park,” a true crime novel by journalist and author Tony Ray Harvey, was presented at Underground Books in Oak Park on Saturday, Nov. 17.

The author’s book is about the serial killer Morris Solomon Jr. and the murders he committed in the 1980s. Harvey shared his research and Solomon's chilling case. The discussion on the novel was followed by a book signing for the new release.

Harvey provided some insight about the case and novel that took him eight years to write.

The true crime novel is distinctive because the killings are a part of Sacramento’s history and for another reason—Morris Solomon is African-American.

There is a peculiar assumption that serial killers are not black. Harvey turns the stereotype on its head in his book, providing readers with information into the case that disturbed this community.

"I was attracted to writing this book because I had never heard of a black serial killer at the time. More importantly, it all happened in Sacramento," related the author.

"It’s important to note that serial killers come in all colors and you can't regulate them to one area."

Solomon, now 69 years old, was charged with seven homicides, but convicted of six in Sacramento. He is on death row in San Quentin State Prison for four first-degree murders and two in the second degree.

Harvey described the setting for Oak Park in the 1980s as a “scary place to be.” He elaborated that the influence of narcotics and drug addicts, and the presence of gangs made it a dark, chaotic and violent time for the neighborhood.

The most unsettling aspect of this novel was that many of the murders discussed in the book happened not too far from where the book signing was held. This fact alone made the reality of the novel disturbing and utterly authentic.

"The county of Sacramento had its highest rate of murders between 1986 and 1987. It was more than 120 murders, nearly all of them connected with crack cocaine and heroin," Harvey said.

"There are a lot of moving parts to Solomon's story. But, the one thing that I discovered about writing this book was the ‘handyman's’ upbringing—and how he eventually got to the point where he wanted to kill people."

Readers may be curious about the novel’s peculiar title. Harvey explained that Solomon loved sports, music and vocational studies.

“He was a handyman by trade—he was good with his hands. Wherever houses were being built Morris Solomon was there,” said the author.

“He worked in houses from Oak Park to Meadowview and in the states of California, Arizona, Texas and Louisiana."

It is best to read the book for more information into the case. It spares few details and the research is extremely thorough.

"The most chilling part of my research was looking at the victims' crime scene photos down at the courthouse,” stated Harvey.

“I put some of them in the book, but there are plenty of graphic photos that I decided not to use.”

“In the same regard, I was trying my best to do the victims' side of the story with dignity. It was a difficult thing to do when I think about those photos,” added the author.

Harvey says that he was motivated by focusing on the victims and providing them with "a voice." The author’s message strikes our core values about humanity and the value of life.

"I want to relay that women living on the margin of society are not throwaways. No one should be overlooked, ever," said the author.

"Most of these victims have mothers, fathers and children. Their families end up as victims too."

Art Icon In Conversation: Richard Mayhew

2011-10-10T07:15:26Z

“A spiral is in every direction—it is without a beginning or an end.”

– Richard Mayhew, artist

One can infer from Mayhew’s perspective that a spiral, in essence, is infinite. It knows no boundaries of time or space. It penetrates existence. However, he’s not strictly speaking about a concept found in physics, or existentialism. This is “heavy art,” a fusion of spirituality and intellect. It is an explanation of an inextricable link between art, creation and its existence.

The Crocker Art Museum, in conjunction with Evolve the Gallery, featured artist Richard Mayhew for the museum’s “Icons In Conversation” program on Saturday.

Mayhew was a member of the 1960s artist collective the Spiral Group. The group operated on the belief that social or political issues should not burden art. In fact, nor should art reflect ethnicity. The idea was to transcend race and let art be what it naturally is: art.

“The Spiral Group was involved with the future, not the present,” Mayhew said.

While the artists weren’t directly concentrating on creating ethnic art, the group itself was involved in combating discrimination.

“There weren’t African-Americans or women in the galleries or museums,” he recounted. “We challenged the owners of the museums and the media.”

Mayhew explained that the media industry didn’t equally distribute coverage of African-American art. The 80-year-old artist shared that the attitude and consensus of museums and the media was that “they felt that African-American artists hadn’t reached a level of creative consistency.”

He shared several awe-inspiring stories of his personal relationships with other members of the Spiral Group. He spoke with candor and deep reverence for each of the artists he knew: Charles Alston, Romare Bearden, Norman Lewis, Hale Woodruff, Felrath Hines, Merton Simpson, James Yeargans, Emma Amos, Reginald Gammon, Alvin Hollingsworth, William Majors, Earl Miller and Earnest Crichlow. Many of these artists received little recognition for their work during their lifetimes.

“Beyond being painters, Ralph Ellison and James Baldwin were also a part of the group,” he said.

Some of the artists found fame in the later years of their careers, but one received more fanfare than the others: Romare Bearden.

“All are deceased except three,” Mayhew said. “I’m the only one still going around talking about it.” His continuation to publicly speak about the group’s work is a promise he made to Bearden.

“The media didn’t pay attention to the other artists,” recalled Mayhew, while detailing the background, skill and talent of each of the members of the group. He confirmed his account with slides of every artist’s work. In offering attendees a glimpse into his experiences, he gave them an authentic encounter with, as he called it, “creative consciousness” or an “internalized spiritual sensitivity” to the creative process.

His memories with the Spiral Group are a reflection of an era with a subject matter often untouched, ignored or simply given a cursory discussion. He is an honest, sensitive, artistic soul who can gauge how far the art world has evolved.

“The journey for African-American master artists is still incomplete,” attendee and Bay Area artist Milton Bowens said. “We are still searching for recognition. These were some of the most creative, artistic innovators in the arts and American history. It is disrespectful to be contained to a subcategory.”

Ann Kerr, a representative of the Kingsley Art Club board of directors, said she thought it was an excellent talk. “I knew a few artists and learned some new ones,” she said. “It was very inspiring — mind-blowing.”

While you may have missed learning the history of the Spiral Group during this informative event, Mayhew’s work can be viewed at Evolve the Gallery, 2907 35th St. A collection of the artist’s work will be exhibited until Nov. 26.

The Icons In Conversation artist talk with Richard Mayhew was an experience with a living legacy, a lasting imprint. His story is equally as impactful and leaves an impression on the soul.

Crocker Hosts Talk On 'African Aesthetics'

2011-02-28T08:12:00Z

“Art with a Twist” is the theme for Thursday nights at the Crocker Art Museum. The new “Open Art” series held every fourth Thursday offers an array of programming ranging from performances to cultural exchanges.

Last Thursday the museum hosted a special lecture with a different approach to modern perceptions of dance, music and art.

“The Africanist Aesthetic in Performing and Visual Arts: A Talk by Dr. Halifu Osumare” was presented in collaboration with the Kuumba Collective Art Gallery and the Sacramento Chapter of The Links, Inc.

Osumare, an associate professor of African American and African studies at UC Davis and author of “The Africanist Aesthetic in Global Hip-Hop Power Moves,” discussed her research about how African culture permeates every facet of the arts.

She demonstrated to attendees how art, dance and music are steeped in African traditional principles. She explained how these principles have a connection to the Yoruba faith and spiritual framework of that culture. The greater message of her lecture explored the connections between these art forms and how they correlate to modern social and popular culture.

Her mission is simply “to educate and spread the spirit,” she said. The dynamic speaker and educator’s background in dance and choreography make her one of the foremost scholars on the African influence in contemporary society.

“I see dance as another form of knowledge — it’s not just doing some steps,” Osumare said. “In fact, I love promoting dance as another form of knowledge. In academia, it’s antithetical to education because of that mind-body split in Western thought.”

The “mind-body split” she refers to is the separation of the spiritual world from the physical one. In African cultures and Eastern thought, there is no division between the two aspects. They interact and are regularly exercised as a natural way of living. The professor affirmed that art is not to just be merely perceived as a visual aesthetic. The position that symbols have meaning and also functionality and purpose is an integral part of African culture. Interpreting symbols in African artwork and clothing was also a feature of the discussion.

“The generic symbols will take you into deeper research that will show the philosophical principles they are connected to in terms of creating depth into art work, especially for artists,” she said.

Underscoring this point, Osumare provided examples of mudcloth, Kente cloth and cloth with Adinkra symbols. She supported each fact with video documentation and concrete examples.

Her ability to present doctoral work that deconstructs social and cultural phenomena and share it in such a way that didn’t lose the audience is the signature of a true educator. The professor also utilized film clips to support evidence of an element called “Multiple Meter: Dancing,” that is, dancing to many drums patterns, or polyrhythm. Attendees were treated to examples of visual and sound clips of dancing to illustrate this fact. She noted that this element translates to the dominant musical art form of hip-hop, and referenced jazz music where one can find additional elements of fine form.

“Popular social dance is an African-based dance form,” she said. “You’re using something that uses African polyrhythm.”

Osumare kept the audience engaged by providing visual examples to emphasize each point. She interacted with the audience and interspersed anecdotal humor with self-demonstrations.

“What I like about her lecture style is that she makes learning accessible,” Trinidadian artist Adele James said. “She embodies what she speaks about in regards to incorporating visual, sound and movement.”

Osumare’s explanation of the “get-down quality” and “descending direction in the sculpture of dance” rendered a spiritual analysis of dance. Definition of these elements is hinged on understanding that the closer one gets to the earth, one communes with the earth, and then one is thereby summoning a spiritual essence.

“It is a reminder of Qi Gong (Tai Chi),” James said, drawing a parallel interpretation. “It’s similar to when you get down close to the earth — that was the highlight of the lecture for me.

Osumare’s lecture drew a range of attendees. There were several audience members representing academic fields and some were just curious to learn more.

“The language they used (in the video clip) was most inspiring to hear,” said attendee Vivian Ellis, a visitor from Munich, Germany. “It was fascinating.”

Ellis stated that the best part of the lecture was learning how African rhythm, its dance and the steps make her different from other ethnicities.

Sacramento City College art and design professor Gioia Fonda was impressed with how Osumare supported her ideas with demonstration of dance movements.

“I encouraged my students to attend, and I have an interest in learning,” Fonda said. “What she was discussing is similar to other principles in design, when she showed the different patterns (symbols) and meanings it indicated.”

Overall, the presentation was an interactive learning experience. The information offered over the course of the evening seemed to leave all who attended with a newfound perspective of looking at the world and moreover how cultural influences shape and govern popular culture.

To get a thorough understanding of Osumare’s intriguing research and the collective African principles influencing performing and visual arts, you’ll now have to read book. If the literature is similar to her lecture style, “The Africanist Aesthetic in Global Hip-Hop Power Moves” will challenge you to utilize critical thinking and provide you with the tools necessary to take an in-depth look into cultural studies.

Belly Dancing Showcase Displays Culture And Talent

2011-01-26T00:07:44Z

An audience sat transfixed in a dimly lit room. At center stage was the band Flowers Of The Nile and Tezrah playing hypnotic rhythms entreating the audience to listen. Suddenly an air of mystery filled the room. A woman wound, shimmied, swirled, waved her arms in a snake-like pattern and swiveled her hips in figure-eights. Her mystical, fluid movements seemed to conduct unseen energy. A sensual dance of mysterious origins began. Welcome to the art of belly dancing.

The Belly Dance Showcase held Sunday, started at 7 p.m. in the Fair Oaks Community Clubhouse. Flowers of the Nile and Tezrah provided the live music for the evening. The showcase featured 20 dancers and four dance troupes.

Egyptian native and Flowers of the Nile and Tezrah band leader Philip Gabriel helped demystify the purpose of this sacred physical dance form.

“Belly dance is about how a woman can express herself … how God created her body and the connection between that and the beats,” Gabriel said.

“A woman’s body is an instrument already,” he added. “She can express her femininity – the feminine thing inside her.”

Exotic smells from the kitchen lured attendees to get a taste of authentic Egyptian and Middle-Eastern cuisine. The menu offered $5 dinner plates of kabobs (beef and chicken) and vegan (grilled eggplant and falafel) options. Specialty dishes included stuffed grape leaves and macaroni Béchamel. There were salad and desert options such as konata, baklava and basboussa.

“The falafels are made from scratch – it’s authentic, good food – not too salty.,” said attendee Steve Bash. “The food makes it feel like a mini-Middle-Eastern Festival right in the middle of Fair Oaks. It’s a chance for people to understand the culture.”

Attendees had a chance to sample the delicious food and shop underneath the indoor mini-bazaar. Vendor Natascha Storms of “What’s Unique” had several one-of-a-kind jewelry and other items for sale. The open-air tent added a touch of foreign flair to the event.

Watching the showcase, audience members learned what celebrating the feminine form was all about. Each movement was punctuated by music to pulsating hip movements, undulating stomach rolls, whirling veils and ringing zills (finger cymbals) to keep time and accent the dance with precision.

“I like to feel the music … the story behind the music – it’s not just about shaking, a dancer must interpret the music,” said Gabriel, a multi-talented musician who has played the oud for 25 years. The oud is a traditional Egyptian instrument that is a part of the string family.

“We play traditional music … I rearrange it to fit the belly dancer, their movements and choreography,” he added.

“Live music gives improvisation. We want to provide excitement and energy … interact with the dancer,” said longtime percussionist and former belly dancer Cynthia Rutherford.

“There’s a certain element of aliveness to performing live music with dancing,” she added. Rutherford plays the doumbec, more commonly called the Egyptian tabla – a kind of drum.

“Performing is always an improvisational experience. Even if you play with a live band, you can’t choreograph live music. As a dancer, you have got to have a lot of skills,” Rutherford added.

Belly dancing knows no ethnic boundaries. It is an overall celebration of supreme femininity and a form of spiritualism. Dancers range from slim to full-figured women adorned in brightly colored costumes and sequins. Extra health benefits include weight loss and lowered stress.

“You are healthy psychologically, too, because when you are doing the dance, you think you are beautiful,” Gabriel added.

The Sacramento Press spoke with event organizer, director of the Henna and Kohl Bellydance Company and Studio, and veteran Egyptian Cabaret belly dancer Adriane Dellorco about her love of the dance.

“I enjoy the movement, connecting to the audience – it makes me feel alive, (I) enjoy learning about other cultures,” she said.

“Egyptian cabaret is more traditional of what you might see performed in Egypt,” she added.

Dellorco has been dancing since she was 14 years old and stunned the audience with her rapid shimmies to the music’s quick melody – a move that’s very difficult to achieve.

The crowd cheered for the dancers by clapping to the syncopated rhythms. There were several performers, however, with a few unforgettable performances that impacted audience members.

“Edemia has very beautiful, mesmerizing hands,” said Smita Shende. “She has great stage presence.”

Edemia is a belly dancer from Mexico City who performs Middle Eastern and cabaret style belly dancing. The featured dancer shared what inspires her to engage in the cultural and sensual art form.

“My inspiration was my mother and father,” she said. “I started off doing folklorico dancing, salsa dancing and now belly dancing. I have a great passion for dancing.

“I like Egyptian classic the most. I like the way you can learn from their culture and they can learn from yours,” she said of infusing the styles with her Mexican heritage. Edemia said she enjoys incorporating her belly dancing to singers Marc Anthony and Señora Dinamita.

“Sawako Ama was my favorite. She kept my attention,” said Merssia Enriquez.

“She was very graceful with her hands and her facial expressions – she connected with the audience really well.”

Sawako Ama performed American Tribal Egyptian-Oriental style dancing.

“It was nice to see all the flavors of dance and talent,” said attendee Gayle Guest-Brown. “There was so much talent on the stage! My favorite was Sawako Ama – her arms were so graceful, her isolations were wonderful. I also thought Badia was excellent, as was Nyla Crystal.”

An Evening Of Bicycle Film Shorts

2010-05-17T04:40:38Z

The sights. The sounds. The smells. Oh my! The Bicycle Film Festival, held Friday through Sunday, was an exciting outdoor event.

Seeing tons of bicyclists flocking to Fremont Park for opening night was surreal. Hearing cyclists talk about their vintage bikes relayed the camaraderie they felt. And the smell of gourmet pizza was tempting as it wafted through the air. All ages strolled, many with gelato in hand, toward Fremont Park to get a seat before the show started.

The Bicycle Film Fest has been held overseas and across the nation. The event celebrates all things bicycle through film, art and music. The restaurant Hot Italian hosted the event's primary indoor site.

Brendt Barbur, festival founder, opened the event, telling the audience that Andrea Lepore, owner of Hot Italian, was the reason Sacramento was added as a festival site.

“We’re now in 40 cities and we’re holding our 10th anniversary in New York,” he said.

Then it was time for the show to go on. “This screening is a series of urban bike shorts that are all made by cyclists,” Barbur said.

The screening featured 16 film shorts from directors in the United Kingdom, Italy, Japan, Spain, Canada and the United States. The films were inspirational, informative and entertaining for cycling enthusiasts and noncyclists alike.

The shorts included:

“On Time,” directed by Ari Taub. It had a well-developed plot and pleased the audience, judging by the applause it received. It was about a bicycle messenger who experiences the dangers of riding. The character has to deliver a package by a set time and must accomplish the task despite many obstacles. If he does not succeed, there will be "explosive" consequences.

In “An Apology,” the Niestat Brothers were invited to do an expose on television show "Good Day, New York" about how easy it is to steal a bike. However, they decided to pull a practical joke. Viewers laughed at the directing duo’s untimely, yet humorous prank.

“Polo Manual” was about playing polo on bicycles. The film explained the rules, method and etiquette of the game. Director Brendan McNamee filmed many collisions and injuries. There were falls that made viewers cringe, but the short also elicited a few chuckles from the audience.

The dramatic musical video “What’s A Girl To Do,” directed by Dougal Wilson, received an enthusiastic response. In the one-of-a-kind short, ominous masked cyclists executed choreographed movements.

“Ski Boys,” directed by Benny Zenga, was an insightful look at the ingenuity of a few young men in rural Ontario. The film was dedicated to creating inventive and daring ways to put all items on wheels.

The audience cheered through “Macramento” by Colby Elrick. The Sacramento premiere featured Northern California cyclists John Cardiel, Squirrel and Ted Shred. The film highlighted much of downtown Sacramento’s landscape on a "ride-along" tour, with the cyclists performing incredible tricks.

Some people at the film festival said it rekindled their desire to ride a bicycle. For others, the films brought back memories.

“I saw 'Breaking Away' -- a famous bicycling film from the '70s -- while I was in college,” said Roger Jones, who lives in downtown Sacramento. “I read about this event in The Sac Bee and since I live in walking distance, I had to come.”

An 'Unusual' Mother's Day At The Antique Faire

2010-05-11T02:00:25Z

When some people hear the word antique, they automatically think it’s synonymous with ancient, heirloom, very old and expensive. While some items fit that exact description, antique collecting is a very misunderstood activity. If you have ever shunned antique collecting, the vendors at the faire and their strange, fantastic and unordinary items they have to sell will definitely change your mind.

“You have to have an appreciation for things in the past,” said Mary Rose, volunteer and mother of antique faire coordinator Maryland Rose.

“We have about 1,500 to 2,000 people come out and support the antique faire. We’re usually very successful when the weather is really good,” Mary Rose added. “We have about 300 vendors, and every month we have new vendors and new people come by.”

Looking for something special, or perhaps a one-of-a-kind gift? The Antique Faire was the perfect place to find a Mother’s Day present.

Rose suggested that antique collecting novices looking for a great find should always “check the back to look for a date from the manufacturer.”

“For example, apple dishes were originally made in California, but a buyer wouldn’t know that unless they checked the back of the dish,” she said.

The antique faire was full of unusual, extraordinary and unique surprises. A man casually strolled through the aisles with his great dane. The huge, magnificent dog stopped to associate with a small beagle. How odd. Yet, the day continued to become more peculiar as vendors shared stories about their antique collections.

Vendor and Oakland native Zoe Sinha had an offbeat, funky, retro, stylish antique fashion collection at her booth. Sinha is the owner of online boutique Oh My Fanny. She described her antique collection as “vintage chic.” Her wild colorful clothes mixed with a select number of sophisticated antique jewelry welcomed curious shoppers.

“I had a store in Chico, and I closed it down,” Sinha said. “I kept all of my vintage section, and now I do the antique fairs so I have time to spend time with my child.”

“I’ve sold some really bizarre art,” she said. “Art is an unusual thing. You never know what someone is going to like….It’s in the eye of the beholder.”

“I also sold a very odd New Guinea water jug….I didn’t know what it really was, but somebody did,” she said, laughing.

Jodi Douglass, however, had the most unusual story about an item to sell.

“I sometimes like to bring a giant jar of baby doll legs to sell,” said Douglass, owner of the Bombshell Betty Shop. “People sometimes need to replace the legs of their old dolls, and they fish through there and find one that matches,” she said.

Antique hunting and collecting is also a multi-generational activity. Grass Valley resident Gretchen Swinson said she’s been collecting antiques her whole life. And it was no exaggeration.

“My mother is a collector of fine antiques, and my daughter has very specific interests like Hawaiian antiques (called Hawaiiana) and Black collectible art,” she said. “My mother worked on Mother’s Day too, so I do as well.”

“I’ve brought some of my mother’s collection to antique fairs before, but it didn’t sell,” she added. “I think a lot of people don’t know what it is, so they are unaware of the value.”

While perusing her collection, the most striking items were an array of necklaces with semi-precious stones, a tiny Japanese coin purse, and an antique bank.

Vendor Nina Baas had a rather normal collection on display for buyers. Yet, when asked what was the most rare thing she had ever sought to collect for herself, she referred to antique jewelry cast in an atypical metal.

“Platinum jewelry is very rare to find,” Baas said. “It’s very hard to find and very expensive.”

Baas displayed a collection of colorful blown glass vases and a variety of copper jewelry.

She described her collection as an assortment of “common and popular” items. The most interesting antique at her table was a metal cigarette case and lighter combination.

Jeff Wibberly, another vendor from Grass Valley, had an exquisite set of Russian red ruby “cut-to-clear” wine glasses.

“These are more of a collectible item than considered to be rare,” Wibberly said.

“In the 15 years I’ve been antiquing, the most unique item was an oil painting of Vice President Dwight D. Tompkins,” he said. “Tompkins was the fourth governor of New York and was the Vice President under President Monroe,” Wibberly added. “What made the painting rare was that it was from 1805…it was a very historical piece."

Vendor Alexa Rayias, owner of Blue Bird Commerce, specialized in art nouveau, decorative art and California painting. Interesting finds from her table included a Hopi Kachina doll, a folk art planter made out of shells, old doll house furniture made from aluminum cans and a carved Polynesian bust.

However, the most unexpected thing at the antique faire was not an item at all, it was vendor Mamadou Traore from Mali, West Africa, who now calls Davis home. Traore was the only African vendor at the faire. At his table were finely crafted wooden jewelry, intricate sculptures, raw semi-precious stones and wood carvings.

“The wood carvings are mostly antiques from West Africa—Ghana, Nigeria, Cameroon and the Congo,” he said. “They’re all manmade and hand-carved.”

Spending Mother’s Day at the Antique Faire was an adventure. Every vendor had a story to tell, but even more interesting is the story behind the items they were selling. All you have to do is ask them.

The Antique Faire is held every second Sunday of the month on X and 21st streets. Come on out next month! There’s a lot to explore, more to learn and even more fascinating stories to hear.