God-Driven......led by God to create liberation artRelevant......art reflects today's racial realitiesHistorical......these powerful images convey historical truthsActivist...a life committed to fighting for equalityEducator...after 33 years as a professor, he's still educating todayInnovative...a desire to help black artists soar led to AAMARPProlific...creator of hundreds of images in multiple mediumsEvolving......art that changed with the times and technologyPowerful...telling undeniable truths about America's racial historyConnected......supporting activist friends for life

God-Driven...

...led by God to create liberation art

Throughout his adult life, Professor Chandler has felt chosen by God to use his art to fight for the liberation of his people the way Jesus fought and died for the world's. A true Christian now, he's more convinced of that than ever.

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Relevant...

...art reflects today's racial realities

With the election of a white nationalist regime and continued deadly violence being perpetrated by police on black men, Chandler's art is as relevant today as it was when he created his most well-known pieces.

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Historical...

...these powerful images convey historical truths

Chandler's activist art made history when he created his own form that are widely replicated today. By helping get his and other art exhibited in mainstream museums, he has raised African American art to fine art status.

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Activist...

a life committed to fighting for equality

As much as any leader of his generation, Chandler is a renowned civil rights activist. But, he's also fought for artist's rights. Today, artists can make art with far less fear it will be stolen.

Educator...

after 33 years as a professor, he's still educating today

Professor Dana Chandler is known as one of the foremost educators in the Africancentric art education movement. He became a leading art professor and mentor to artists before age 40. Today, students learn about him in classes starting in elementary school.

Innovative

...a desire to help black artists soar led to AAMARP

Chandler's innovative program, the African-American Master Artist-in-Residency Program, shifted the art world. It was also one of the most beloved programs of its time.

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Prolific

...creator of hundreds of images in multiple mediums

Chandler has produced hundreds of works of art over his nearly 60-year career. Some are among the most recognized in the art world. His art is in collections globally, including at renowned museums.

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Evolving...

...art that changed with the times and technology

As times changed, so did Chandler's art to reflect those historical shifts and his evolving perspective. Today, he continues to evolve in his perspective about the importance of art as a tool of resistance.

Powerful...

telling undeniable truths about America's racial history

Chandler's art forces Americans to reckon with its history and their role in that story. His pieces tell truths most don't want to hear and many have fought to silence.

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Connected...

...supporting activist friends for life

As this image of the late Kwame Ture, who was a lifelong friend shows, Chandler spent his life as a integral part of the activist community. He has supported to and been connected to the art and activists community's most renowned people.

He's made activist art for over 60 years. Do YOU own "a Dana Chandler", yet? Learn how you can.

Visit Gallery

Professor Dana Chandler–Enlightened, evolved and erudite.

 Gallery

One of the most prolific artists in history, Chandler has created several thousand pieces in his almost 60-year career. In this gallery, you can view pieces from most of his series and determine which you would like to exhibit or purchase. Visit the gallery then reach out to us for more details.

Book

Learn how to book this internationally-renowned, message-oriented artist whose narrative is as contemporary, relevant, important and witty today as always. Down-to-earth and easy to engage and available in person and virtually, to get Prof. Chandler as a speaker for your next event, article, television or radio show, click here.

Press Room

A former journalist himself, the artist has an extensive press history. Download a complete press kit including his artist’s statement, selected bibliography, selected images, awards and other information to help your coverage. You may also learn more about Prof. Chandler’s current and future activities. Click here.

Northeastern University Erases AAMARP from Its History, Moves to Shutter the Complex

Screenshot from July 2, 2018, showing no evidence of the program’s existence in a search of the College of Arts, Media and Design one of two where program leaders say AAMARP is supposed to be administered.

Northeastern University appears to be eviscerating the watershed African American Master Artist-in-Residency (AAMARP) from its institutional memory. On July 1 and 2, 2018, we took screenshots of search results of the term “AAMARP” from two Northeastern University departments under which current program leaders indicated the program was administered.

The university seems to have removed the program from its website. Moreover, they’ve begun trying to remove the current 13 AAMARP artists from the space they’ve occupied at 76 Atherton Street in Jamaica Plain for nearly two decades.

Within 48 hours of their June 28, 2018 letter giving the ‘occupants,’ as they called them, whom the accused of illegally residing on the premises, just 14 days to move, the university abruptly locked the artists out.

Despite claiming this was an emergency related to “code violations” and “safety issues,” the university appears to have been planning this action for some time.

Prof. Dana Chandler, 77, is legitimately angry about Northeastern’s latest attempt to terminate the program he founded as a community space and visual artists complex in 1978 and directed until 1993. He shared his sentiments with reporter Greg Cook of Wonderland, who’s written the most comprehensive account to date [read more…]

Artist's Statement—The race question and my art answered.

Contrary to what some assert about or conclude from my art, I don’t “hate all white people”. I hate racism, which is driven by white supremacy. I make no apologies for the content of my art because it depicts the ugly historical and current day realities that are part of white supremacy in America. That not much has changed since I painted some of the works in the 60s, 70s and 80s makes my art still relevant today. Donald Trump’s election that put a white nationalist to the White House is evidence of that.”

Does Professor Chandler hate all white people?

When people see images like this one, The Black AmeriKKKlan Experience: Murdered While Black, they envision an enraged black painter contemplating the same fate the subject of this painting experienced for all white people.

I can’t say I wasn’t enraged when I painted in 1974 to confront the white supremacist police brutality that was being perpetrated against black men even then. I was, and justifiably so. But, because of artwork like this that conveys that rage projected by white supremacists onto black bodies, I’ve always been considered a “controversial political artist.”

 

My art makes white and other people uncomfortable in their denial, complacency, and complicity in the destruction of black lives. Black lives have always mattered to me and most of my art expresses that. Thus, others have given me many labels over the years intended to categorize me as an artist based on its focus and content.

Showing love for my own people through my art does not translate into hatred for other racial groups. Unlike white nationalists, I don’t have the need to exterminate other racial groups to prove my love for my own.

The labels include “Black Power Artist,” “Black Nationalist Artist,” “The Original Hip Hop Artist” and “Outsider Artist.” All reflect my status as a historical forerunner in the black activist art world as well as in the black political activist movement.

But many of these labels, typically given to me by white people, also have negative connotations. Some are meant to portray me as a dangerous, anti-American radical.

It’s those labels that endanger black men who speak out against the brutality and injustices routinely perpetrated against us that [read more…]

Professor Chandler's Work to Exhibit Next at Brooklyn Museum of Art!

 

We’re pleased to announce that Prof. Chandler’s seminal work, “Fred Hampton’s Door II” continues to be part ofSoul of a Nation: Art in the Age of Black Power.”

After its phenomenal run at London’s Tate Modern Museum last summer, the exhibition debuted in the US at the Walton Family Foundation’s Crystal Bridges Museum of American Art in Bentonville, AR, in February 2018. That show, where Prof. Chandler participated in a panel discussion during its Symposium called “Role of Artists in Education: A Conversation with Randy Williams, Dana Chandler, and William T. Williams,” also was a smash hit. It next appears at the Brooklyn Museum of Art in New York City, from September 14, 2018-February 3, 2019. 

The exhibition explores how ‘Black Art’ was defined, rejected and redefined by artists across the United States in the period 1963–83. The works on display feature artists such as Romare Bearden, Norman Lewis, Lorraine O’Grady and Betye Saar, alongside prominent British-Guyanese painter Frank Bowling who was resident in New York for much of this time.

Beginning with the establishment of the Spiral art collective in 1963, the exhibition examines how debate raged among and beyond African-American visual artists about  what it meant to make and show art, who it was for and how it should relate to the Civil Rights movement and other campaigns for racial empowerment.

It’s been touted as a must-see exhibition by news media, significant art publications and art collectors globally. Don’t miss it when it gets to Brooklyn!

Visit the Brooklyn Museum’s website for more information and tickets.

Latest News

Dana Chandler Featured in this WBUR Article About the Decimation of AMAARP by Northeastern University
Tensions Between Black Artist Program And Northeastern Go Back Decades

Greg Cook of Wonderland Does First Major Feature Story on Demise of AAMARP Interviewing Chandler
Northeastern Says Landmark Black Artists Residency Program ‘Must Vacate’ Jamaica Plain Building

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