Art of Jonathan Green 2020 Wall Calendar

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The Art of Jonathan Green 2020 calendar showcases the southern culture of the artist's Gullah heritage from the inland marshes near the Sea Islands of South Carolina. Jonathan Green, a graduate of the prestigious School of the Art Institute of Chicago, has won national awards and is recognized by curators and museums as one of the South’s most important living artists and among the greatest African-American artists. His work is found in museums in Germany, Sierra Leone, and throughout the United States.

| Large blocks for notes | Reproduced on quality, 100-pound paper | Calendar measures 13 ¾ by 10 ½ inches closed and 13 ¾ by 21 inches open

Paintings pictured in this edition include:

Enchanted Memories

Painting by Jonathan Green, 2017

Acrylic on Arches Watercolor Paper,

8 5/8 by 11 inches

Glade Stroll

Painting by Jonathan Green, 2007

Oil on canvas, 18 by 24 inches

Carrying the Cane

Painting by Jonathan Green, 1996

Oil on canvas, 9 by 12 inches

Fragrance of the Wash

Painting by Jonathan Green, 2018

Acrylic on canvas, 18 by 24 inches

Paradise of Dreams

Painting by Jonathan Green, 2017

Acrylic on canvas, 18 by 24 inches

Corn Shed

Painting by Jonathan Green, 2004

Oil on Masonite, 16 by 20 inches

Quiet Tranquility

Painting by Jonathan Green, 2017

Acrylic on Arches Watercolor Paper,

8 3/4 by 11 3/4 inches

The Proposal

Original print by Jonathan Green

Gouache on paper, 20 by 27 inches

Sissy in the Lowcountry

Painting by Jonathan Green, 2017

Acrylic on Arches Watercolor Paper,

8 ¾ by 11 ¾ inches

Soft White Sheets

Painting by Jonathan Green, 2019

Acrylic on canvas, 16 by 20 inches

Sir Dave

Painting by Jonathan Green, 1998

Oil on linen canvas, 18 by 24 inches


Painting by Jonathan Green, 1996

Oil on canvas, 48 by 60 inches


About Artist Jonathan Green

By Brantley Fraser, M.A. – Cultural Reviewer


     In every era of modern history there exist enigmatic characters of grandeur, of illustrious reputation, and of presumably limitless influence – artists, to be specific. Their influence spans across subjects as well as time; the modernists of any subject are always building from the work their predecessors. In my experience in the arts and the academia of arts, a singular area of interest may provide you a tenured position at a university. Such a specialization does not, however, create a prolific artist, visually or otherwise. The legendary artists of our past are impactful because of the far-reaching implications of their work outside of the medium in which their work is delivered. It is in this sense that such characters become enigmatic – individuals that have put forth so much energy into the art of creation that their mediums begin to burst at their seams. Their subjects begin to tear at their sutures, and from them come pouring forth inventive new applications and innovative reworkings of tradition, and in this case, a retelling of history.

     Digressing from such abstract terms, it has become abundantly clear that Jonathan Green, native of Gardens Corner, South Carolina, has become uniquely intimate with the habit of exuding grandeur, enigma, and perhaps most importantly, resisting categorization. Born in 1955, Green fluctuates with poise and purpose between aesthetic and thematic tropes with frustrating ease. Consistently, Green’s work is concerned with and deeply tied to his Gullah Geechee roots and the African Diaspora. If there are any “singular” aspects of Green’s work, it’s that, and that his work generally represents the individual engaging in a communal activity. Stylistically his work has been categorized as surrealist, realist, cubist, impressionist, and more. In every series, Green invokes the paradoxical duality of the African-American in the South. His powerful subjects carry the weight of hundreds of years of oppression with the grace of the nimblest dancers. The rich joy in communal tasks exuding from his subjects is juxtaposed by the immutable sadness of generations of mistreatment

     Green once spoke of his connection to the agrarian lifestyle, the lifestyle that features so prominently in his artwork, the lifestyle that has been muted by the revisionist history of not only the southeast of the United States but the entire country. Gullah Geechee language and culture is an amalgam of African cultures that organically co-developed from the inception of their mass enslavement, and for 250 years the language they created was not even a written language. Jonathan’s partner, Richard Weedman, puts it best: the discounting of the Gullah Geechee influence on American culture, economy, cuisine, music, dance, and art is nothing short of an egregious example of revisionist history. While Green’s art does not make such an explicitly bold political statement (no great art does), it is unequivocally devoted to the conservation of Gullah Geechee culture.

     Kate Kramer once wrote of the category defying man in strictly artistic terms (2001). This distinction is important, we will note, for if we only looked at Jonathan Green’s style and abilities as an artist we’d have a difficult time defining a singular thing he does better than others. His plurality is evidenced by his political and social endeavors. He is the founder of the Lowcountry Rice Project, an organization dedicated to educating people on the true economic history of the southeast and raising awareness of the influence of Gullah Geechee culture in southern living. Charleston, SC, where Green now resides with his partner, was one of the richest cities in the world at the height of slavery. Indigo, cotton, tobacco, and especially rice, fueled and sustained the booming agricultural economies of the south. The families of these industries still benefit from the financial success to this day, and none of it would have been possible if not for slave labor. The Lowcountry Rice Culture Project seeks to educate the masses on that impact, and celebrate the culture that impact was born from.

     Politically, Green has also been chosen to be the Ambassador for the Arts in the city of Charleston, a role that seeks to enrich communities with the subversive power and joy of art. Green once said in an interview published by Journal now (2016). “When we don’t have arts in the community, then other people can define us and they can define us any way they want”. It is in this light that Jonathan Green took his historical and artistic prowess and repurposed it into a different realm of the visual arts. In 2016, a revival of Porgy and Bess was introduced to the 40th anniversary of Charleston’s Spoleto Festival. As the visual director, Jonathan worked with New York director David Herskovitz to bring the aesthetic imagery and vision from his artwork to the stage – a moving, singing, dancing, visual monument to Gullah Geechee culture, enriching the historic production.

     It is the communal scene where life begins and lives so beautifully in his work, and it is in the communal scene that Jonathan Green is constantly active in his daily life. He develops young talent, he works with schools to educate children about rice culture, he enlists members of his community to advance social change, his book Gullah images changed the artistic landscape of South Carolina. There is hardly anything singular about Green, indeed, and this fact is in part what makes him so

enigmatic, so influential. Jonathan Green’s social and artistic work is already changing the social outlook of the South in tangible ways. In 2017, Lowcountry Rice Culture Project collaborated with

     The Requiem for Rice Project founded by Jonathan Green and international scholars, serving as strategic partners to honor the millions of African slaves who perished in the Middle Passage and shortly after. His work has been incorporated into film, musicals, and ballets. His artistic career, both illustrious and prolific, has become only a fractal of his oeuvre. So while it’s safe to say that his artistic career has been nothing short of a resounding success, it’s difficult to determine just what parts of our lives his work won’t reach. It is not difficult to say, however, that we can expect much more to come from Jonathan Green.




©Tide-mark Press 2019