Tag Archives: Georgia Art & Artists

Smith Grove Cemetery, Jefferson County

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This well-maintained African-American cemetery contains a collection of vernacular headstones of statewide importance, both as artifacts of ingenuity in the face of adversity and as sacred ground to the loved ones of those interred here. Thanks to Cynthia Jennings for making me aware of the site. Smith Grove [Smiths or Smith’s in some references] members made the best of what was available to them, which was typical of rural congregations. Many of the memorials are nearly unreadable*, but consider that at the time they were made, most rural African-American schools were grossly underfunded and were barely able to provide the basics of an education, and the makers of these were likely “drawing” the letters as opposed to writing them. I believe Smith Grove Cemetery should be on the National Register of Historic Places.

*-All names and dates that follow are presumed to be correct but the nature of the script makes it difficult to be completely accurate

Triangular Headstones

There are four triangular memorials, likely all accomplished by the same maker. Dates on Findagrave for these stones are not completely accurate. The way the numbers are positioned makes it nearly impossible to determine an actual date, in most cases.

Alex Stone (10 August 1862-22 November 1930).

The date of Mr. Stone’s birth would indicate he was likely born into slavery.

Ed Way (1873-?)

Billie Lee Way (1865-1902)

Reverend B. T. Smith (1900-?)

It is possible that Reverend Smith was the first pastor here and of the family for whom the church was named. [The name is listed as B. C. Smith on Findagrave, but I believe that may be an error in translation].

Unique Headstones

Inell Belle (2 December 1932-1944)

This unique memorial is perhaps the most interesting of all the vernacular headstones at Smith Grove. I believe it represents a crown and/or the trinity.

This is the back side of the Inell Bell monument.

Unknown Memorial

It appears at first to resemble a keystone, but I don’t know if that was intentional. The rectangle in the middle likely once served as a frame for a piece of glass that held something of importance. The grave of PFC Robert W. Lockhart (not pictured), while a simple form, also has such a space and retains the original glass.

This side of the memorial has an even more complicated appearance, including incised areas that seem to be purposeful.

Tora Hymes (18 February 1864-?)

This is a small wedge-shaped stone. I am not sure if the name I have given is correct.

Unknown

Stacked stones were once a common way to mark burials in African-American and white cemeteries, especially in rural locations.

Round Headstones

Sanie Brown (2 December 1932-1944)

Jessie Campbell (1931-1953)

Willie J. Hymes (1895-1945)

Traditional (Rectangular/Square) Headstones

Mell Berrie (1890?-February 1930)

This is identified as Nell Berrie on Findagrave but I believe it to be Mell.

Unknown Avera (1850-1936)

The first name is unreadable but contains an “o”, and an “r”. The surname is misidentified on Findagrave as Iveya. Avera was a common name in the area at one time.

Elex Tyler (14 November 1933-14 July? 1934)

Tom Hymes (February 1886-January 1920)

Professor L. W. Seabrook (January 1864-October 1956)

Many of the later headstones in the cemetery use a form slab and stenciled letters.

The beautiful churchyard at Smith Grove.

Bessie McKnight Jones Memorial, 1929, Sandy Bottom

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Situated in a small isolated cemetery, this vernacular headstone is an extraordinary work of African-American folk art. Details indicate the hand of someone with above-average skills in the medium, especially the braided pony tail and the eyes and eyelashes. And though time has been relatively kind to the sculpture, gravity is now its greatest threat. The grave is buckling and, without stabilization, the headstone will likely fall face-forward in the future. At this point, there is no way to definitively determine the maker, but such memorials were often created by a parent or husband.

Very little is known about Mrs. Jones, but her death certificate states that she was a housewife and married to Lonnie Jones. Her father, John McKnight, was born in South Carolina in 1888, and her mother, Amelia ‘Mealie’ Montgomery, born in 1890, was also a native of South Carolina. They were all living in Clinch County in the first decade of the 20th century [this section of Clinch became part of Atkinson County upon its formation in 1917]. Bessie was born in 1908 and was 21 years old at the time of her death from malaria, on 2 November 1929.

I’m grateful to Cynthia Jennings for bringing this treasure to my attention. Cynthia and Mandy Green Yates accompanied me to the cemetery on a recent photo trip. Cynthia notes that she has encountered quite a few difficulties in researching Mrs. Jones’s family but has learned her husband Lonnie was a turpentine laborer, was 20 years older than Bessie, and that she was his second wife. She also notes that some of the McKnight family were in Virginia by the 1930s. She identified the following siblings in Bessie’s family tree: Prince; Mitchell; Lizzie A.; Venis; Varnetta; Hettie; and Maggie McKnight. Hopefully, these clues will lead to more information.

Randolph Cemetery, Harrisburg

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Randolph Cemetery, set on a precipitous hillside southwest of Milledgeville, has the appearance of a typical early-20th-century African-American burying ground, with many handmade headstones and grave markers sourced from local materials. This monumental folk art arch makes it anything but a typical cemetery. [It might also be of interest that it is believed that a descendant of one of George Washington’s slaves is buried here].

The top of the arch contains relief carvings of oak leaves, plus some possible clues about the builder. Below a random series of letters and numbers [K PL47, perhaps designating Knights of Pythias Lodge 47?] and the phrase “He Watches Over Me” is what appears to be the date 1923 and the initials F B and ARB. It’s possible that the B is for Brown, as there are several Browns in this cemetery, but that is only a guess.

On both sides of the arch, there are relief depictions of traditional miners’ tools.
Considering that mining activity has persisted for the better part of two centuries in this area, it’s possible the builder was involved in the industry in some way. I even believe he may have used rock from his job in the construction of the arch. The shovel on the right (above) also has initials ending with the letter “B”.
Nearly as fascinating as the arch is this adjacent headstone for Cora Randolph (31 December 1875?-26 July 1924). If you look closely at the top of the marker you will see a handprint to the left. I’m grateful to my friend Cynthia Jennings, who has documented cemeteries in all 159 Georgia counties and has a particular interest in African-American cemeteries, for suggesting I find this place. It immediately became one of my favorite African-American cemeteries and I hope to learn more about the arch. It’s among the most important vernacular funerary monuments in Georgia.

Huie House, 1928, St. Simons Island

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This early example of the International Style, designed by Macon architect Fred Stroberg, uniquely employees the local building material known as tabby to make a bold statement about the past and the future. It has also been referred to as “Mediterranean House” and the outline of a shed roof on the side indicates it may have had such a decorative element at one time, but it’s decidedly International in appearance and spirit, making it an even more significant landmark.

The house is primarily associated with the late Mildred Weigle Nix Huie (1907-2000). A native of Augusta, Mrs. Huie received a degree in Classical Education from Florida State University. She and her husband Carl purchased the house in 1967 and it remained Mrs. Huie’s home and studio until her death. Mrs. Huie was an accomplished Impressionist painter, sculptor and historian, and upon establishing the Left Bank Art Gallery in 1962, became an integral part of the St. Simons cultural scene, through the fostering of other artists and the free access she provided to her own collection as well as philanthropic pursuits.

Mrs. Huie’s daughter, Millie Wilcox, maintained the home as the Mildred Huie Museum for more than a decade after her mother’s death.

The property was the first site acquired by the St. Simons Land Trust in 2018 and though the museum itself is closed, the grounds are a welcome respite from the busy commercial area of Frederica Road, open and free to all.

Recycled Sculptures at Sunrise Farm, Warren County

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These recycled iron/scrap sculptures represent mythological and real creatures. I’m not sure who the artist is, but it may be farm owner Mark Chalker. You can’t help but notice them as you drive past.

Sea Horse

Sea Turtles

Octopus

Phoenix, or Firebird

It’s hard to pick a favorite, but the Phoenix is mine. (The octopus came in a close second).

The Gourdmaster’s House, Sylvester

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As I was driving through Sylvester with my parents recently I turned on a side street and this delightful home immediately caught my eye. I got shots of all the other houses I was interested in and couldn’t wait to take a closer look at this one. Moreover, I was surprised I’d never noticed it before.

It wasn’t easy tracking down information, but my father recalled having seen a fascinating story on the Albany news about a gentleman who was working on a community garden in Sylvester that included a banana farm. He thought, just perhaps, this could be his home.

I’m always excited to find a new art environment and this one was special. As I approached the house, I felt it wasn’t the work of a traditional folk artist, but rather that of a skilled and trained professional. I also knew the creator was sharing a vision. The images depicted on the house blend Native American and African iconography and seem to pay tribute to displaced and endangered peoples.

After a bit of research I discovered that it was, in fact, the home of the gentleman my father had suggested. His name is Sam X White, and he’s known by many as The Gourdmaster Sam X, for his masterpieces of gourd art. But Sam is a Renaissance man. He’s a community activist, art educator, supporter of 4-H, and the man behind Sylvester’s Village Community Garden. He’s an ambassador for so much more than art and I hope his neighbors love his work as much as I do. I hope to meet him in the future.

Iron Horse, 1954, Oconee County

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Sculptor Abbott Pattison designed the 2-ton, 12-foot Pegasus Without Wings in 1954. The work was first sited at Reed Hall, but was immediately unpopular with students, who attempted to melt it by burning tires beneath it. The protest was so unwieldy that the fire department had to turn their hoses on the estimated 700 students to gain control of the situation. As a result of the controversy, the sculpture was removed, stored for a time in a warehouse, and in 1959 transported by night to a field owned by UGA horticulture professor L. C. Curtis near the Oconee-Greene County line. The “Iron Horse” stands here today, and visiting it has become a rite of passage for many UGA students . I met two, who extolled the benefits of visiting the countryside and their love of the sculpture, while I was photographing.

The sculpture has become perhaps the biggest tourist attraction in Oconee County and curious visitors from all over stop by to pay homage these days. The sculpture can be hard to spot when the surrounding fields are full of corn or sunflowers, but a crude parking lot off the side of Georgia Highway 15 across from a UGA sign identifying the location as the ‘Iron Horse Plant Sciences Farm’ lets you know you’re in the right place. Recently, the fate of the sculpture has become unclear, as the family who owns it wishes to transfer ownership back to the university, while keeping it on the farm. The university doesn’t want ownership unless they can return it to the campus. I think nearly everyone who loves the Iron Horse would agree that it should stay just where it is. Hopefully, they can figure it out.

Artist Annie Greene Visits Darien

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At 88 years young Annie Lucille Greene doesn’t seem to be caught up in the past, yet her work draws heavily from memory. Mrs. Greene, who grew up in Hinesville in the 1940s, tells her life story through yarn art, a process which first involves drawing images on a surface, then gluing different pieces of colored yarn to create a seamless mosaic. There’s a strong similarity to the Impressionist style known as Pointillism. Mrs. Greene actually refers to it as yarn “painting” and upon seeing the work in person, one completely understands. Presently, she is exhibiting What Color is Water: Tales and Art About a Segregated South as the featured event of the Black History Art and Humanities Program at the McIntosh Art Association in Darien. I’m honored to have met and photographed this amazing lady.

Detail of Babysitting, a recollection of Annie’s first job, in Hinesville © Annie Lucille Greene

Annie’s parents, Henry William and Ella Mae Tarver, were both pioneering black educators. They encouraged her doodling and drawing from an early age and they supported her creative efforts by buying art supplies. When Annie was 12, the family moved to Hogansville to work in the black school there.

Detail of 93 Boyd Road, the Tarver’s home in Hogansville. © Annie Lucille Greene

Summers were spent visiting her maternal grandparents on their farm near Adel. Mrs. Greene told me she didn’t like the farm work, but she loved the food. “The food was really good,” she recalled.

Detail of Granddaddy and Grandmama’s Farm, near Adel © Annie Lucille Greene
Detail of Once Upon a Time Women Washed Clothes in Tin Tubs…© Annie Lucille Greene

Annie spent her first year in college at Spelman but wasn’t happy there. She transferred to Albany State and loved it, Upon graduating in 1954 she was offered a job teaching in LaGrange. It was there that she married Oliver Nathaniel Greene, a Social Studies teacher. They had two children, and while Nathaniel was in New York, completing his Masters in Education at Columbia University, Annie stayed home and took a break from teaching. Dean Robert Simmons encouraged her to go to New York University and she graduated from there in 1956. She received her Masters Degree in Art Education in 1961 and went on to have a long and successful career in the Troup County school system.

Detail of Civil Rights Marches © Annie Lucille Greene
Detail of Civil Rights Marches © Annie Lucille Greene

Her third and latest book, which is available at the McIntosh Art Association, presents a blend of her work, from early memories to the Civil Rights activism of the 1960s. The images are much better seen in person and I encourage anyone in the Darien area to visit the exhibit. Details can be found here.

The opening reception at the McIntosh Art Association was very well attended and I think everyone enjoyed meeting Mrs. Greene and her husband.

She has exhibited and toured her fine work all over the Southeast but doesn’t keep as busy a schedule as she once did. As a result, you might want to visit this one as soon as you can.

Annie Lucille Greene

Stone House Complex, Cuthbert

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I’ve had a number of potential identifications for this house and restaurant but there is no consensus yet. I think it deserves documentation as an art environment, whatever it was. [I’m still trying to confirm all of this information, so it may change at any time.]

The complex consists of two structures. The primary structure appears to be a house, which looks relatively simple from the front.

Its layout is quite whimsical, though. There are numerous rock houses and structures created by visionary and self-taught artist architects throughout the United States, most focused on religious or spiritual themes. This one appears to simply be one man’s personal vision. I’m not sure if the house and restaurant were built at the same time.

The second structure is sided with a mixture of limestone and cinderblock. Mac Moye notes that it was a restaurant for decades and that there are/were several similar limestone structures scattered around Randolph County.

It’s connected to the house by a series of arches, constructed of brick and limestone.

Perhaps the most interesting feature of the restaurant structure are the two willow trees/trees of life surrounding the windows.

The property appears to be in relatively good condition but should be recognized in order to preserve it as an art environment and community landmark.

Sheffield Cemetery, Glynn County

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Sheffield Chapel was organized in 1854 with 20 members, including namesake Jack Sheffield, Sr. Three churches of varying construction housed the congregation from just after the Civil War until they merged with Haven United Methodist Church to form Haven Sheffield United Methodist Church in 1998. The last, built in 1969 and abandoned since the merger, was lost to arson in 2009. The cemetery is cited in some sources as Sheffield U. M. C. Cemetery and in others as Clayhole Cemetery, for its location in Clayhole Swamp.

Tile Grave Markers of Sheffield Cemetery

Sheltered by old-growth oaks, Sheffield Cemetery contains some of the most important surviving African-American vernacular grave markers in the region. Otherwise simple  headstones were decorated with commercial tiles of various colors. (There are nine by my count). Some of the sides and bases feature the tile, as well, while the backs are exposed and feature the names of the decedents. They generally date to the 1930s and 1940s and were most likely created by a member of the congregation.

Frenchie Taylor Wite (White?) (15 April 1902-7 October 1944)

This is the most colorful of all the tile markers. The name for Mrs. Wite may be a misspelling of White. Such errors are common with homemade markers, in both black and white cemeteries. The first photo shows the marker in perspective.

Name Indiscernible (1940s)

This is the smallest of the markers.

Name Indiscernible (May 10 1885?-December 19?)

Eroding text on the exposed concrete complicates identification.

Sam May (7 September 1867-22 September 1936)

This is the only stone not featuring the predominant mid-century commercial tile.

Lawson Family Markers

Lawson Markers

Carther Lawson (22 May 1932-? 1946)

Unknown Lawson

Robert Sheffield (1884-9 June 1947)

Most of the tiles have fallen off this marker.

Name Indiscernible (1940s)

There is also a marker for Prince Richardson (1877-27 January 1949), but I somehow overlooked it.

Other Headstones of Sheffield Cemetery

Besides the whimsical tile markers, a number of other significant markers and plots are located within Sheffield Cemetery. I’m sharing a small selection here.

John Sheffield (11 November 1825-13 October 1910)

The Sheffield family, who established the congregation in slavery days, are well represented.

Susan (Akin) Sheffield (16 December 1834-9 December 1914)

Susan married John Sheffield in 1852.

Arnold Sheffield (25 February 1859-14 July 1910)

Arnold was the son of John and Susan Sheffield. Chains carved on the grave may, or may not, indicate he was born into slavery, as were all (or nearly all) those buried here who were born before the end of the Civil War. Sometimes, actual chains were placed within the concrete of the graves and some scholars suggest that broken chains indicate that the decedents were freed. This is not employed in all cemeteries but the chains speak for themselves, even for those who lived long after Emancipation.

March Wesley (August 1848-28 January 1931)

H. E. Westley (Wesley) (?-5 November 1957)

Birthdates of African-Americans, even long after the end of slavery, were often unknown.

Ida Roase (Rose) (1882-18 March 1904)

This is a foot stone, placed before a more formal marker was added.

Brick fence surrounding Atkinson family plot

Atkinson Enclosure

Alex Atkinson (13 March 1863-6 December 1945) & Ida Atkinson (10 August 1869-10 September 1938)

The Atkinsons were successful small farmers, like many members of Sheffield Chapel.