MS01.01.03.B02.F23.087

"of classic models and Caucasian idols, one may see
the passing of the childhood period of Negro art, and
with the growing maturity of the Negro artist, the
advent of a truly racial school of art expression." 30
[strike: But] Brady felt differently about the [strike: exclusive]
Black artist's use of Black subjects [strike: only] in [strike: the] creative
expression. She emphasized the need for Black artists to
show the competancy of their ^art in all^ styles, media
and subject areas. She [strike: felt particularly] was
keenly set on seeing to it that the
[strike: broad] individual categories of art expression ^in the
Harmon exhibitions^ran parallel to what was taking place in the
broad context of American art. The
exhibition awards of [strike: 1926, 1927, 1928] the previous five
years had reflected they gamut of
Brady's catholic task. [strike: Previous] The awardees
exhibited landscapes, Marine scenes, portraits,
farm scenes ^and^ still lifes, [strike: none] few of which
made special references to the
iconography of African art. [strike: While]
Brady was smart not to engage
Locke in dialogue about his theory
of the revival of African retentions
or African surfaces as he referred to
them, in Black American Art. She ^showed
the same astuteness when she^ sided with
James A. Porter on the issue of condemning the use of
the surfaces qualities of Africaic
art without true regard for the

30 Locke; Alain L. "The African Legacy and the Negro Artist", Harmon
Foundation exhibition of the work of Negro Artists, 1931, p.12