The August Gallery Hop was magic.

The warm, summer breeze carried the rhythmic rise and fall of spoken word down the streets of the Short North. Poetry and music rose in the air before finally settling in the hearts and minds of those who listened. There was a vibrancy and energy in the atmosphere, the likes of which the Short North has rarely seen.

Some people joined in the bustle. They followed their maps and strolled from one end of the neighborhood to the other, taking in every experience that the night had to offer. Others came to see specific installations in support of their friends and family. And others stopped in front of one mural or one piece of art and paused, luxuriating in a rare state of peace and stillness. Regardless of how each and every individual participated that night, every person experienced something delightfully unexpected.

Regardless of how each and every individual participated that night, every person experienced something delightfully unexpected.

They might have discovered a new artist with whom they identified, they may have met a new friend, or they may have learned something about themselves and their role in the community.

The artists involved ranged from well-established Columbus icons to up-and-coming creatives just starting to leave their footprints on the Columbus arts scene. Other artists boasted national acclaim and accolades from cities such as San Francisco, Los Angeles and New York, but they had yet to receive much recognition in their hometown — or even their home state of Ohio. 

That was the case for Bryant Anthony, or, as most people know him, Bee1ne. Bryant hails from the east side of Cleveland where he says, “The streets were my gallery.”

When he arrived in Columbus to attend the Columbus College of Art and Design, the city didn’t welcome his style. Galleries turned him down, saying his art was too “street” or too “urban.” It wasn’t until Bryant rose to fame in Miami and Los Angeles that Columbus began to warm up to his form of expression.

Now Bryant has a mural, “Spread More Love,” in the city that first turned him down. Nothing could be more indicative of Bryant’s character. He turned a harsh environment into an opportunity to spread love and inclusion.

He turned a harsh environment into an opportunity to spread love and inclusion.

Bryant’s mural, along with others, served as a source of inspiration for the live performances that brought the streets to life. Poets including Wali, Judazya, Tripp Fontane and Vye performed in front of his mural.

On the other side of the Short North, Mason Pryor, Richard Pryor’s son, made an appearance in front of Terry Norman’s mural of Richard Pryor. At Antoinette Savage’s mural, The Exodusters, dancers brought her work to life.

Through dance, music, art and spoken word, the community came together to celebrate and support our local, African American artists. It was an event like no other and an unforgettable experience.

Likeness of Richard Pryor recreated with permission granted by Jennifer Lee Pryor and Indigo, Inc.

Meet the Muralists

Annie Chrissy Burley | Anime Omission (Composite) | 1020 N. High St.

Annie Chrissy Burley is an animator and visual artist. This piece shows a figure named “Anyia,” and her characteristics are based off of a character called Ayanami Rei from the animated series “Neon Genesis Evangelion.” Annie sees Ayanami Rei as a cultural opposite compared to the common representation of a character that looks like Anyia. She’s breaking down the “Big Black Woman” archetype to show a more nuanced picture.

Antoinette Savage | The Exodusters | 921 N. High St.

Antoinette Savage creates dolls that tell the stories of her ancestors: “I strongly believe that, as African Americans, we are our ancestors’ answered prayers. Prayer knows no time or space. So a prayer that was prayed 400 years ago, I’m living right now. But they’re not here to see it. For me, it has been very important that I tell our stories and I tell them with dignity.”

April Sunami | Dviza, 2017 | 772 N. High St.

April Sunami is an artist that strives to impact culture through creating art. This mural, along with her other works, depicts an African, female figure in an active position of power: “It’s just a way of celebrating a history that a lot of people don’t know about. As a person who studied history, I always felt that African history was excluded from the picture.”

Bee1ne | Spread More Love | 1033 N. High St.

Bee1ne, or Bryant Anthony, is a Cleveland-based artists who came to Columbus to attend CCAD. His mural is a part of his current campaign, Spread More Love. In his experience, Bee1ne has learned that people need to show and receive more love in this day and age. His artwork reflects that goal.

Cameron Granger | Urn, Or Another Way To Say I Love You (video still), 2017 | 777 N. Wall St.

Cameron Granger is a filmmaker that came to Columbus to attend CCAD. He has since found a community in this space. His mural is a video still from his film Urn, Or Another Way To Say I Love You. It’s about the distance between “I” and “you” that his love tries to cover.

Debbie Jackson | Bogolan Queen | 790 N. High St.

Debbie Jackson creates African-inspired art jewelry. Her work is currently featured in the Smithsonian’s National Museum of African History and Culture in Washington, D.C. She literally wrote the book on her medium of choice, Polymer Clay Jewelry. She says: “Africa speaks through my art.”

Edmund Boateng | BREAKING LOOSE | 1288 N. High St.

Edmund Boateng is a visual artist and photographer originally from Ghana. “I’m inspired by nature. My explanation of nature is everything that God has created, including humans,” Edmund says. This mural, BREAKING LOOSE, is a self-portrait that illustrates Edmund fighting against his reserved nature.

Malcolm J | Goodale Park | 15 E. Second Ave.

Malcolm J is a Columbus icon. He has gained local acclaim for his images of the Short North. This piece, Goodale Park, shows a view of the fountain in Goodale Park.

Marshall Shorts | I, Too, Sing Columbus | 858 N. High St.

Marshall Shorts is a local branding creative and the man who designed our Harlem Renaissance logo. He wants this campaign to not only celebrate the Harlem Renaissance, but to also ask questions: “Where are we 100 years later? Are we still facing some of the challenges that black folk had during that time period? Are artists still facing the same challenges 100 years later?”

Omar Shaheed | Lady in the Window, 2018, two angles shown | 642 N. High St.

Omar Shaheed is a sculptor who works primarily in limestone. When he first came to Columbus, he says that the arts scene — especially for African Americans — was limiting. Lately, he’s starting to see a shift: “I didn’t really feel comfortable in Columbus from an artist’s perspective because art wasn’t focused on as it is today. I think it was pretty bland. I used to sit and talk with other artists who were here and most of them saw the same thing I saw. For us, for African American artists, to be in the Short North, that’s totally different.”

Richard Duarte Brown | Fleaux Child | 1359 N. High St.

Richard Duarte Brown originally hails from Atlantic City New Jersey. Since then, though, he has become a beloved Columbus artist that works to inspire our local youth. He is an art educator and his mural, Fleaux Child, depicts Louis Othello Berry (a local poet, dancer and Transit Arts alum) performing live.

Terry Norman | Richard Pryor. Medium: Charcoal | 685 N. High St.

Terry Norman is an artist whose charcoal portraits are the stuff of legend. This mural or Richard Pryor is often mistook for a photograph. Make no mistake, Terry drew this piece using charcoal. He is a Columbus native and a self-taught artist.

Likeness of Richard Pryor recreated with permission granted by Jennifer Lee Pryor and Indigo, Inc.

By Hailey Stangebye

Photos courtesy of Marshall Shorts

Marshall Shorts is among the Columbus movers and shakers.

He likens this city to an open canvas — it’s a place where dedicated individuals can create tangible impacts on the community.

“Part of me feels like I can add a stroke on that canvas and become a part of building this city,” Marshall says. “Other cities might have more opportunity or, in some cases, more resources and people, but I think Columbus is exciting because it doesn’t always have that. You can get next to people and connect with people a lot easier. That’s unique.”

“Part of me feels like I can add a stroke on that canvas and become a part of building this city. Other cities might have more opportunity or, in some cases, more resources and people, but I think Columbus is exciting because it doesn’t always have that. You can get next to people and connect with people a lot easier. That’s unique.” 

Marshall is a branding creative and one of the masterminds behind Creative Control Fest, but he’s also a local artist who has dedicated countless hours to help develop the Harlem Renaissance campaign in Columbus. He even designed the Harlem Renaissance logo.

“It’s not so much the acknowledgement or the celebration of the Harlem Renaissance. I think that part tends to get romanticized. But I think, more than anything, it provides an opportunity to educate and create a platform to have a real talk about what was successful about the Harlem Renaissance and what wasn’t so successful, so that we don’t repeat the same mistakes,” Marshall says. “Where are we 100 years later? Are we still facing some of the challenges that black folk had during that time period? Are artists still facing the same challenges 100 years later?”

“Where are we 100 years later? Are we still facing some of the challenges that black folk had during that time period? Are artists still facing the same challenges 100 years later?“

According to Marshall, the campaign in Columbus parallels the historical Harlem Renaissance in more ways than one.

On one hand, there’s been more positive exposure for black artists that have done and continue to do phenomenal work in their communities.

“The works created during the Harlem Renaissance were also in reaction to one of the most violent and tumultuous times against black folk in this country — across the country. While we recognize the art that was created and we celebrate that, that art came from a place of struggle and a place of discrimination and racism and violence and a lot of things.

“I think, for us today, when we see Black Lives Matter and other social movements, the response that happens as a result through art has parallels. Black Lives Matter is in response to vigilante and state violence, amongst other things,” Marshall says.

“The works created during the Harlem Renaissance were also in reaction to one of the most violent and tumultuous times against black folk in this country — across the country. While we recognize the art that was created and we celebrate that, that art came from a place of struggle and a place of discrimination and racism and violence and a lot of things.”

While the reality of this day and age can be disheartening, Marshall remains hopeful and says that he’s already begun to see some of the impacts of the campaign. The Harlem Renaissance Experience at the August Gallery Hop is an example of that.

“On the local level, I’m hoping that black artists feel empowered and that they have a platform to keep creating,” Marshall says. “I know there has been a conversation in Columbus for a long time around access to galleries and buyers and things like that in the Short North.”

This most recent hop opened doors for local, African American artists through galleries. It also added another physical layer to the Short North through the Temporary Mural Series — one, of which, was created by Marshall.

The momentum is here.

“My biggest concern is that, when this campaign ends, that it just ends,” Marshall says. “I want it to be sustainable. I want it to last beyond just the Harlem Renaissance campaign. I want this to be a part of the fabric of this city.”

Marshall says that this kind of organic, intentional sustainability is possible. But it often comes down to a dedicated few. As he mentioned before, Columbus is a place where individual effort counts.

“If you haven’t been involved in the campaign, make something,” Marshall says. “Get involved in some kind of way. If not with the Harlem Renaissance campaign, do something or create something or connect with folks. Continue to build this community outside of the campaign.”

“If you haven’t been involved in the campaign, make something. Get involved in some kind of way. If not with the Harlem Renaissance campaign, do something or create something or connect with folks. Continue to build this community outside of the campaign.“

Marshall is a part of the Short North Mural Series. You can find his mural, I, Too, Am Columbus, at 858 N. High Street.

Marshall’s Work

By Hailey Stangebye

Photos courtesy of Omar Shaheed

When Omar Shaheed surveys a piece of limestone, he doesn’t always know exactly where the sculpture will take him. Often times, the stone has soul of its own.

Omar’s job is to study that stone and reveal the right shape from within.

“Sometimes I break the stone with a hammer or drop in on the floor and let it break. Then I look at it and I study it and see just what it is and what it’s telling me. Because stone has a soul. Everything has a soul,” Omar says. “Everything is alive in this world in it’s own way. To actually tap into the energy of stone, it takes a while because it’s a very hard substance. But once you begin to carve, you really don’t know where you’re going. Sometimes you have an idea, but the stone has an idea as well. And sometimes you break something by accident, but it really wasn’t an accident.”

“Everything is alive in this world in it’s own way. To actually tap into the energy of stone, it takes a while because it’s a very hard substance. But once you begin to carve, you really don’t know where you’re going. Sometimes you have an idea, but the stone has an idea as well. And sometimes you break something by accident, but it really wasn’t an accident.” 

As Omar carves limestone, he traces an idea or a feeling. That’s his guide. Every move must be deliberate because of the nature of limestone sculpture.

“Stone is unforgiving. If you break it, that’s it. There is no turning back,” Omar says. “So now what are you going to do? You have to find a way to say what you want to say in this piece of art. That’s the excitement in taking a piece that’s been broken, changed, altered. You find a way to say what you want to say through that stone as well.”

“Stone is unforgiving. If you break it, that’s it. There is no turning back. So now what are you going to do? You have to find a way to say what you want to say in this piece of art. That’s the excitement in taking a piece that’s been broken, changed, altered. You find a way to say what you want to say through that stone as well.”

People in Columbus are listening to Omar’s sculptures and hearing what they have to say. But this wasn’t always the case. When Omar first moved to Columbus from the San Francisco area, he says that the arts scene was very different here.

“Years ago, when I first came here, this was not an art town,” Omar says. “I didn’t really feel comfortable in Columbus from an artist’s perspective because art wasn’t focused on as it is today. I think it was pretty bland. I used to sit and talk with other artists who were here and most of them saw the same thing I saw. For us, for African American artists, to be in the Short North, that’s totally different.”

For Omar, the Harlem Renaissance Experience at Gallery Hop will be a delightful — but surprising — change of direction.

“Even now, how many — without this show — how many of the artists would be shown? What would our African Americans be doing? Where is the outlet for expression? Well it’s not here,” Omar says. “Or, at least, it wasn’t here for all of the years when I originally came here.”

“Even now, how many — without this show — how many of the artists would be shown? What would our African Americans be doing? Where is the outlet for expression? Well it’s not here. Or, at least, it wasn’t here for all of the years when I originally came here.”

With time, Omar has noticed a shift in the Columbus arts culture. He now has a network of artists with whom he meets every week at the King Arts Complex. He has a space where people can gather and talk about art. That’s a step forward.

Despite the adversity he has faced in this town, Omar plans to continue creating art here. He says he’ll continue to make art until the day he dies.

“Art is something that you have to do and practice in order to really understand who you are because, to know who you are you have to look for yourself. Find yourself. Your habits, your likes, your dislikes,” Omar says. “How do you do that? I do it through art. I do it through creating.”

Omar continues to carve himself through carving limestone. With each maneuver, he comes closer to finding his true self.

Omar is a part of the August 4 Gallery Hop. His work will be featured in Brandt Roberts Galleries and his mural will be located at 642 N. High St. Here is where you can find more information.

Omar’s Work

Spread the Love

By Hailey Stangebye

Photos courtesy of Bryant Anthony

Bryant Anthony wears his heart on his sleeve.

His work creates spaces for openness and vulnerability — something, Bryant says, we need more than ever in this time and place.

But it wasn’t always easy for Bryant to be open. He grew up on the east side of Cleveland. That environment forced him to wear a mask because “it wasn’t always sunshine and rainbows.”

“I’ve just seen a lot,” Bryant says. “It made me aggressive. Angry. They say you’re a product of your environment. Sometimes, that can be true. I did a lot of street art and graffiti art. I didn’t see anything wrong with it because that’s what I saw growing up. That was art. The streets were my gallery.”

“I did a lot of street art and graffiti art. I didn’t see anything wrong with it because that’s what I saw growing up. That was art. The streets were my gallery.” 

Bryant has created art for as long as he can remember. He went from drawing paper soldiers as a child to graffiti as a young teen. At 14 years old, he got his first job at an airbrush shop.

“I actually got into airbrushing because I got into trouble. The police officer was like, ‘Man, you’re talented. You’re a really talented kid,’” Bryant says. “He knew a family friend that airbrushed.”

Throughout high school, Bryant continued to hone his craft. He started by airbrushing t-shirts, but soon found himself airbrushing shoes, cars and motorcycles. He moved to Columbus to study at the Columbus College of Art and Design, where he is close to completing his illustration degree.

Bryant says that Columbus didn’t welcome him with open arms. At least at first.

“Galleries here have said my work was too ‘street’ or ‘too urban.’ I’ve heard that a lot,” Bryant says. “Unfortunately, I had to leave Ohio to get recognition. I have more exposure in the Miami and L.A. areas than anything. The feedback I get from them is two times more than what I get from Ohio.”

“Galleries have said my work was too ‘street’ or ‘too urban.’ I’ve heard that a lot. Unfortunately, I had to leave Ohio to get recognition.”

Now that Bryant has national recognition, Columbus has slowly warmed up to his style. But there’s still a long road ahead.

Through all of his challenges, Bryant recognized a theme: People across Ohio and the world are hungry for love and acceptance. This idea became the impetus for his current campaign — Spread More Love.

“Spread More Love is about giving the people their hearts back,” Bryant says. “At the very foundation of love is to be kind and respectful toward one another. I think we’re all supposedly taught that as a child. ‘Treat others the way you want to be treated.’ It has nothing to do, necessarily, with loving a partner or a spouse or marriage or anything like that. It has to do with the base of human interaction. Be kind to one another. If you need a hug, give a hug.”

“It has nothing to do, necessarily, with loving a partner or a spouse or marriage or anything like that. It has to do with the base of human interaction. Be kind to one another. If you need a hug, give a hug.”

Sometimes Bryant receives pushback against his campaign. People ask him, ‘Why are you, a grown man, painting red and pink hearts?’

The cure for that resistance is dialogue. Once Bryant explains his motivation behind the campaign and the struggles he’s overcome from growing up in Cleveland, he can melt hearts.

“The toughest guys conform at that very moment,” Bryant says. “It’s not that they’re putting on a facade, but so many people are told, ‘Be tough, be strong,’ you know? Especially with men. I feel like we have to live up to that stigma.”

Bryant says his work has the power to pull people out of their shells. It’s a space where it’s not only acceptable to be vulnerable, it’s encouraged.

Spread More Love fit like a glove with the goals of the Harlem Renaissance celebration in Columbus.

“I realized that people of the Harlem Renaissance did it for themselves and nobody else,” Bryant says. “They showed each other love because they couldn’t get love from the outside world.”

“I realized that people of the Harlem Renaissance did it for themselves and nobody else. They showed each other love because they couldn’t get love from the outside world.”

One of his latest projects, a mural called ‘Spread More Love,’ is at 1033 N. High St. It will be featured at the upcoming Harlem Renaissance Gallery Hop.

Bryant hopes that this piece makes people pause, take a picture and Spread More Love.

“Show some love. Spread More Love. Because, right now, we’re in a crazy time and a crazy place. I feel like everybody needs to show more love and receive more love.”

Bryant’s Work