https://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&feed=atom&action=historySargent Johnson and Bufano - Revision history2024-03-29T06:54:31ZRevision history for this page on the wikiMediaWiki 1.39.1https://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=33522&oldid=prevCcarlsson at 04:31, 22 November 20212021-11-22T04:31:35Z<p></p>
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</table>Ccarlssonhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=31501&oldid=prevLisaruth: added link to google map of Bufano sculptures, moved source to byline2020-07-25T02:22:16Z<p>added link to google map of Bufano sculptures, moved source to byline</p>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>''by Tommy L. Lott''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''by Tommy L. Lott<ins style="font-weight: bold; text-decoration: none;">, excerpted from "Black Consciousness in the Art of Sargent Johnson" in'' Reclaiming San Francisco: History, Politics, Culture'', 1998</ins>''</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower | Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower | Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">--</del>''<del style="font-weight: bold; text-decoration: none;">Excerpted from "Black Consciousness in the Art </del>of <del style="font-weight: bold; text-decoration: none;">Sargent Johnson" </del>by <del style="font-weight: bold; text-decoration: none;">Tommy L. Lott, </del>in <del style="font-weight: bold; text-decoration: none;">''Reclaiming </del>San Francisco<del style="font-weight: bold; text-decoration: none;">: History, Politics, Culture</del>'<del style="font-weight: bold; text-decoration: none;">' (San Francisco: City Lights Books 1998) </del>''</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>''<ins style="font-weight: bold; text-decoration: none;">'Enjoy an [https://www.google.com/maps/d/u/0/viewer?mid=1lgLl5Rb8EqwUtdXROWzHBVWxsVpEzg4p&hl=en&ll=37.76264777129591%2C-122.38913931610405&z=12 evolving map </ins>of <ins style="font-weight: bold; text-decoration: none;">sculptures </ins>by <ins style="font-weight: bold; text-decoration: none;">Beniamino Bufano </ins>in San Francisco<ins style="font-weight: bold; text-decoration: none;">] created by Paul Hays</ins>'''</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[category:Public Art]] [[category:African-American]] [[category:1930s]] [[category:1940s]] [[category:Sunset]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[category:Public Art]] [[category:African-American]] [[category:1930s]] [[category:1940s]] [[category:Sunset]]</div></td></tr>
</table>Lisaruthhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=17631&oldid=prevCcarlsson: fixed photo2011-06-06T05:53:50Z<p>fixed photo</p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Bufano and Johnson had collaborated on several public art projects for the WPA prior to Bufano's dismissal. Bufano had created two stylized animals carved in brown and black granite, titled "Seal" and "Frog," for the promenade deck of the Maritime Museum, neither of which were installed until 1942. A photo of Bufano working in his studio in 1938 with four of his assistants, including Johnson, accompanies an essay Bufano wrote for Francis O'Connor's anthology of essays by WPA artists (O'Connor 1973). Less than two years after this photo was taken Johnson would literally betray his former teacher and collaborator.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Bufano and Johnson had collaborated on several public art projects for the WPA prior to Bufano's dismissal. Bufano had created two stylized animals carved in brown and black granite, titled "Seal" and "Frog," for the promenade deck of the Maritime Museum, neither of which were installed until 1942. A photo of Bufano working in his studio in 1938 with four of his assistants, including Johnson, accompanies an essay Bufano wrote for Francis O'Connor's anthology of essays by WPA artists (O'Connor 1973). Less than two years after this photo was taken Johnson would literally betray his former teacher and collaborator.</div></td></tr>
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</table>Ccarlssonhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=11267&oldid=prevCcarlsson: Protected "Sargent Johnson and Bufano": excerpted essay [edit=sysop:move=sysop]2009-01-04T09:21:45Z<p>Protected "<a href="/index.php?title=Sargent_Johnson_and_Bufano" title="Sargent Johnson and Bufano">Sargent Johnson and Bufano</a>": excerpted essay [edit=sysop:move=sysop]</p>
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<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''<font face = Papyrus> <font color = maroon> <font size = 4>Historical Essay</font></font> </font>'''</ins></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Sargent Johnson working on the Washington High School frieze'''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Sargent Johnson working on the Washington High School frieze'''</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Sargent-johnson-WASHHIFrieze.jpg]]</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art | Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art | Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Bufano and Johnson had collaborated on several public art projects for the WPA prior to Bufano's dismissal. Bufano had created two stylized animals carved in brown and black granite, titled "Seal" and "Frog," for the promenade deck of the Maritime Museum, neither of which were installed until 1942. A photo of Bufano working in his studio in 1938 with four of his assistants, including Johnson, accompanies an essay Bufano wrote for Francis O'Connor's anthology of essays by WPA artists (O'Connor 1973). Less than two years after this photo was taken Johnson would literally betray his former teacher and collaborator.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Bufano and Johnson had collaborated on several public art projects for the WPA prior to Bufano's dismissal. Bufano had created two stylized animals carved in brown and black granite, titled "Seal" and "Frog," for the promenade deck of the Maritime Museum, neither of which were installed until 1942. A photo of Bufano working in his studio in 1938 with four of his assistants, including Johnson, accompanies an essay Bufano wrote for Francis O'Connor's anthology of essays by WPA artists (O'Connor 1973). Less than two years after this photo was taken Johnson would literally betray his former teacher and collaborator.</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Bufwrkshp.jpg]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Bufano at work in his studio in 1938, Sargent Johnson behind him to right.'''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Several commentators have erroneously reported the circumstances surrounding Bufano's dismissal. For example, we are told by Romare Bearden and Harry Henderson that "Johnson's design won him the commission for this athletic frieze... The award outraged Beniamino Bufano... who felt his own design should have won, and ended their friendship." The only truth in this assertion is the fact that their friendship ended.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Several commentators have erroneously reported the circumstances surrounding Bufano's dismissal. For example, we are told by Romare Bearden and Harry Henderson that "Johnson's design won him the commission for this athletic frieze... The award outraged Beniamino Bufano... who felt his own design should have won, and ended their friendship." The only truth in this assertion is the fact that their friendship ended.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Keeping in mind that the workroom from which Bufano was barred had been a training ground for Johnson's development as a sculptor, the official story repeatedly told by politically-naive commentators evades many of the important issues raised by Johnson's betrayal of Bufano (Montgomery 1971; Bearden and Henderson 1993).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Keeping in mind that the workroom from which Bufano was barred had been a training ground for Johnson's development as a sculptor, the official story repeatedly told by politically-naive commentators evades many of the important issues raised by Johnson's betrayal of Bufano (Montgomery 1971; Bearden and Henderson 1993).</div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Image:Sjmarmus.jpg]]</ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td colspan="2" class="diff-side-deleted"></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''Sargeant Johnson's frieze on the Maritime Museum.'''<br>''Photo: Chris Carlsson''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower | Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower | Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=9356&oldid=prevLisaruth: changed category from Af-Am to African-American2008-10-21T06:13:41Z<p>changed category from Af-Am to African-American</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 23:13, 20 October 2008</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:art1$johnson-and-frieze.jpg]]</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[Image:art1$johnson-and-frieze.jpg]]</div></td></tr>
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<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Sargent Johnson working on the Washington High School frieze</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">'''</ins>Sargent Johnson working on the Washington High School frieze<ins style="font-weight: bold; text-decoration: none;">'''</ins></div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art | Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art | Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[category:Public Art]] [[category:<del style="font-weight: bold; text-decoration: none;">Af</del>-<del style="font-weight: bold; text-decoration: none;">Am</del>]] [[category:1930s]] [[category:1940s]] [[category:Sunset]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[category:Public Art]] [[category:<ins style="font-weight: bold; text-decoration: none;">African</ins>-<ins style="font-weight: bold; text-decoration: none;">American</ins>]] [[category:1930s]] [[category:1940s]] [[category:Sunset]]</div></td></tr>
</table>Lisaruthhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=6895&oldid=prevCcarlsson: categories2008-08-10T22:43:26Z<p>categories</p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 15:43, 10 August 2008</td>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>--''Excerpted from "Black Consciousness in the Art of Sargent Johnson" by Tommy L. Lott, in ''Reclaiming San Francisco: History, Politics, Culture'' (San Francisco: City Lights Books 1998) ''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>--''Excerpted from "Black Consciousness in the Art of Sargent Johnson" by Tommy L. Lott, in ''Reclaiming San Francisco: History, Politics, Culture'' (San Francisco: City Lights Books 1998) ''</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;">Contributors to this page include:</del></div></td><td colspan="2" class="diff-side-added"></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>'<del style="font-weight: bold; text-decoration: none;">'San Francisco Public Library,San Francisco,CA - Publisher or Photographer ''</del></div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">[[Labaudt</ins>'<ins style="font-weight: bold; text-decoration: none;">s Inspirational Beach Chalet Murals | Prev</ins>. <ins style="font-weight: bold; text-decoration: none;">Document]] [[Sargent Johnson and His Milieu | Next Document]]</ins></div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[<del style="font-weight: bold; text-decoration: none;">Labaudt's Inspirational Beach Chalet Murals | Prev. Document</del>]] <del style="font-weight: bold; text-decoration: none;"> </del>[[<del style="font-weight: bold; text-decoration: none;">Sargent Johnson and His Milieu | Next Document</del>]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[<ins style="font-weight: bold; text-decoration: none;">category:Public Art</ins>]] [[<ins style="font-weight: bold; text-decoration: none;">category:Af-Am]] [[category:1930s]] [[category:1940s]] [[category:Sunset</ins>]]</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=6755&oldid=prevCcarlsson at 22:27, 7 August 20082008-08-07T22:27:53Z<p></p>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sargent Johnson working on the Washington High School frieze</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Sargent Johnson working on the Washington High School frieze</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art <del style="font-weight: bold; text-decoration: none;"> </del>Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art <ins style="font-weight: bold; text-decoration: none;">| </ins>Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is worth noting that while the Art Commission was split on the merits of Johnson's plans for the Washington High frieze, this same group voted, without dissent, to accept Diego Rivera's mural for the yet-to-be-built SF City College Library. This is extremely important to consider in connection with the political aspects of Johnson's dispute with Bufano.</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>It is worth noting that while the Art Commission was split on the merits of Johnson's plans for the Washington High frieze, this same group voted, without dissent, to accept Diego Rivera's mural for the yet-to-be-built SF City College Library. This is extremely important to consider in connection with the political aspects of Johnson's dispute with Bufano.</div></td></tr>
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<td colspan="2" class="diff-lineno">Line 15:</td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Keeping in mind that the workroom from which Bufano was barred had been a training ground for Johnson's development as a sculptor, the official story repeatedly told by politically-naive commentators evades many of the important issues raised by Johnson's betrayal of Bufano (Montgomery 1971; Bearden and Henderson 1993).</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Keeping in mind that the workroom from which Bufano was barred had been a training ground for Johnson's development as a sculptor, the official story repeatedly told by politically-naive commentators evades many of the important issues raised by Johnson's betrayal of Bufano (Montgomery 1971; Bearden and Henderson 1993).</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower <del style="font-weight: bold; text-decoration: none;"> </del>Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower <ins style="font-weight: bold; text-decoration: none;">| </ins>Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.</div></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>--''Excerpted from "Black Consciousness in the Art of Sargent Johnson" by Tommy L. Lott, in ''Reclaiming San Francisco: History, Politics, Culture'' (San Francisco: City Lights Books 1998) ''</div></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>--''Excerpted from "Black Consciousness in the Art of Sargent Johnson" by Tommy L. Lott, in ''Reclaiming San Francisco: History, Politics, Culture'' (San Francisco: City Lights Books 1998) ''</div></td></tr>
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<tr><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td><td class="diff-marker"></td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><br/></td></tr>
<tr><td class="diff-marker" data-marker="−"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Labaudt's Inspirational Beach Chalet Murals <del style="font-weight: bold; text-decoration: none;"> </del>Prev. Document]]<del style="font-weight: bold; text-decoration: none;"> </del>[[Sargent Johnson and His Milieu <del style="font-weight: bold; text-decoration: none;"> </del>Next Document]]</div></td><td class="diff-marker" data-marker="+"></td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Labaudt's Inspirational Beach Chalet Murals <ins style="font-weight: bold; text-decoration: none;">| </ins>Prev. Document]] <ins style="font-weight: bold; text-decoration: none;"> </ins>[[Sargent Johnson and His Milieu <ins style="font-weight: bold; text-decoration: none;"> | </ins>Next Document]]</div></td></tr>
</table>Ccarlssonhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=880&oldid=prevAdmin: 1 revision(s)2007-10-07T21:48:17Z<p>1 revision(s)</p>
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<td colspan="1" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:48, 7 October 2007</td>
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</td></tr></table>Adminhttps://foundsf.org/index.php?title=Sargent_Johnson_and_Bufano&diff=879&oldid=prevUnknown user at 00:00, 15 January 20012001-01-15T00:00:00Z<p></p>
<p><b>New page</b></p><div>[[Image:art1$johnson-and-frieze.jpg]]<br />
<br />
Sargent Johnson working on the Washington High School frieze<br />
<br />
When Sargent Johnson, a former student of [[Beniamino Bufano on Public Art Beniamino Bufano]], was selected by the WPA to replace Bufano as the artist for the massive relief frieze at Washington High School at 32nd and Anza, Johnson's design had to be submitted for approval to the SF Art Commission, which initially rejected it. Some of the committee members went on record declaring support for the retention of Bufano, whose design they had already approved. Johnson eventually won approval by creating a clay model 12 feet high and 3 feet long.<br />
<br />
It is worth noting that while the Art Commission was split on the merits of Johnson's plans for the Washington High frieze, this same group voted, without dissent, to accept Diego Rivera's mural for the yet-to-be-built SF City College Library. This is extremely important to consider in connection with the political aspects of Johnson's dispute with Bufano.<br />
<br />
Bufano and Johnson had collaborated on several public art projects for the WPA prior to Bufano's dismissal. Bufano had created two stylized animals carved in brown and black granite, titled "Seal" and "Frog," for the promenade deck of the Maritime Museum, neither of which were installed until 1942. A photo of Bufano working in his studio in 1938 with four of his assistants, including Johnson, accompanies an essay Bufano wrote for Francis O'Connor's anthology of essays by WPA artists (O'Connor 1973). Less than two years after this photo was taken Johnson would literally betray his former teacher and collaborator.<br />
<br />
Several commentators have erroneously reported the circumstances surrounding Bufano's dismissal. For example, we are told by Romare Bearden and Harry Henderson that "Johnson's design won him the commission for this athletic frieze... The award outraged Beniamino Bufano... who felt his own design should have won, and ended their friendship." The only truth in this assertion is the fact that their friendship ended.<br />
<br />
It is not at all true that Bufano became bitter because he lost a competition to his former student. Rather, what really happened was the Art Commission had already commissioned Bufano to do the frieze, but WPA officials objected to the political content in Bufano's design and assigned Johnson to take over the project. According to Richard McKinzie, Bufano was fired when WPA officials learned that he had used the Marxist labor leader, Harry Bridges, as a model for the frieze (McKinzie 1972). The ''San Francisco Chronicle'' reported that "when [Joseph] Allen changed the locks on Bufano's workroom, to impress on him that he was fired, the clay that Bufano was molding into the heroic figures of the frieze became Johnson's to work with." (11/14/40)<br />
<br />
Keeping in mind that the workroom from which Bufano was barred had been a training ground for Johnson's development as a sculptor, the official story repeatedly told by politically-naive commentators evades many of the important issues raised by Johnson's betrayal of Bufano (Montgomery 1971; Bearden and Henderson 1993).<br />
<br />
Although Johnson clearly benefitted from his collaborations with Bufano and Stackpole on public art projects, he was highly critical of some of his more politically-minded colleagues, in particular the [[Coit Tower Coit Tower muralists]]. His ability to relate to the art establishment, especially collectors, was to a large extent due to his well-known commitment to political neutrality. His opposition to political messages in art places him closer to Locke, rather than Bufano, on questions of ideology and aesthetics.<br />
<br />
--''Excerpted from "Black Consciousness in the Art of Sargent Johnson" by Tommy L. Lott, in ''Reclaiming San Francisco: History, Politics, Culture'' (San Francisco: City Lights Books 1998) ''<br />
<br />
Contributors to this page include:<br />
<br />
''San Francisco Public Library,San Francisco,CA - Publisher or Photographer ''<br />
<br />
City Lights Books,San Francisco,CA - Publisher or Photographer<br />
<br />
Lott,Tommy,L. - Writer<br />
<br />
[[Labaudt's Inspirational Beach Chalet Murals Prev. Document]] [[Sargent Johnson and His Milieu Next Document]]</div>Unknown user