Enduring Spirit Exhibit | TYRONE GETER STOREFRONT AND GALLERY

TYRONE GETER STOREFRONT AND GALLERY
VISIONS FROM A DISTANCE TIME FINE ART FOR FINE PEOPLE

influenced by Four Women By Nina Simone


I am a great fan of Nina Simon. Every since my college days, I have always found her voice, her manner, her commitment to the truth, to be an integral part of the Black struggle. Four Women reminds me of my college days when as a naive young man, referred to black women as
High Yellow, Olives, and Safire's.

The art that I create rarely consider the final disposition of the work. My concern is the encrypted message that is often a part of the work. I have spent a lifetime trying to communicate with my fellow humans. It started with a focus on the Black community by trying to speak to the issues that confound us. I like to think that over the years, I grew and changed. Today, my concern is how to I get my particular brand of enlightenment to resonate with all people within the sphere of my images. The universal statement for me is to identify the issues and concerns that we have in common and speak to them. Such an approach broadens the number of people that I can reach.

  •  Aunt Sara | 60

    Aunt Sara | 60" x 40" | Charcoal

  •  Saffronia | 60

    Saffronia | 60" x 40" | Pastels

  •  Sweet Thing | 60

    Sweet Thing | 60" x 40" | Pastels | Charcoal | Collection of Mitcm and Linda Bolag

  •  Peaches | 60

    Peaches | 60" x 40" | Pastels | Charcoal


The Art Of The Misdirect


Why do poor and middle class Republicans vote against their own interests? "If you can convince the lowest white man he's better than the best colored man, he won't notice you are picking his pocket. Hell, give him some one to look down on, and he will empty his pockets for you.” LBJ

The history of the United states is founded in this concept. From slavery to the labor movement. The working class were taught to believe that no matter how bad life was for them, they were still better off than the best black man. An example of this is the line that was used by the Trump hispanic surrogate when he told hispanic voters that illegals were detrimental to their wellbeing because it limited jobs and progress for those who were in the country legally.

The rulers of our nation used this technique to separate the races so as to eliminated unity among people of color and poor working class whites. The elite knew that no unity and no effective resistance could ever be a threat as long as working folks continued to resist the challenge of working class unity. When looking at our world today, dress, hair styles, color and a host of other things are the preferred tools for misdirecting the emotions of working people. Mass media persuades the white working class that young people of color in hoods, or wearing dreads are dangerous, criminals, welfare cheats, etc. Truth has no place in the dialogue. These images takes advantage of these stereotypes and by adding restraints on the mouth, shows how people can be rendered voiceless in a modern culture that on the surface preaches democracy and freedom for all.

The second trio of collaged images adds a twist by styling the hoodies in a manner could have beed created by a modern day designer, Tommy Hilfinger comes to mind when opportunity allows for the exploitation of trend allows for additional profit. The elite are quite willing to exploit these images for profit and at the same time use them to consolidate their control.

  •  Masked And Muzzled | 60

    Masked And Muzzled | 60" x 40" | Charcoal

  •  Hooding With Some Style | 60

    Hooding With Some Style | 60" x 40" | Charcoal

  •  Blackballed, Blackmailed, Black Cat, Black Man | 60

    Blackballed, Blackmailed, Black Cat, Black Man | 60" x 40" | Torn Paper |Charcoal

  •  Street Creds | 60

    Street Creds | 60" x 40" | Charcoal | Optional

  •  Faking The Fear | 60

    Faking The Fear | 60" x 40" | Torn Paper | Charcoal

  •  Collection:  Arthur Primas | Just A Brother Stylifying | 60

    Collection: Arthur Primas | Just A Brother Stylifying | 60" x 40" | Torn Paper |Charcoal | Collection: Arthur Primas

  •  Hillfigger Can't Top This | 60

    Hillfigger Can't Top This | 60" x 40" | Torn Paper | Charcoal



Hats And Mats



Hair and hats have always been a part of the traditional dress of Africans and African Americans.
As children of Africa, this characteristic seem to have been written into our DNA.

Whereas, among black people, is is seen as an act of beauty, pride and heritage, it is only in contemporary western society that it has often been labeled as negative, suspicious intimidating and something to be fear among white citizenry.

This series presents a dilemma
in some circles for both Blacks and Whites when confronted with this kind of expression of Black pride and defiance. Both sides can feel uneasy and embarrassed though neither will admit it.

  •  Living The Li(f)e | 60

    Living The Li(f)e | 60" x 40" | Torn Paper | Charcoal

  •  Blinded By The Light | 40

    Blinded By The Light | 40"x60" | Charcoal, Conte

  •  Untitled For Now |  | 60

    Untitled For Now | | 60" x 40" | Charcoal

  •  Endangered Species | 60

    Endangered Species | 60" x 40" | Torn Paper | Charcoal

  •  Detail | 4'x7' | What's A Mother To Do? #1

    Detail | 4'x7' | What's A Mother To Do? #1

  •  Detail | MLM (My Life Matters) | 4'x7'

    Detail | MLM (My Life Matters) | 4'x7'

  •  Detail | 4'x7' | What's A Mother To Do? #2

    Detail | 4'x7' | What's A Mother To Do? #2

  •  The Road To Freedom Starts With The First Backward Step | 4'x8' | Charcoal, Torn Paper, Cloth

    The Road To Freedom Starts With The First Backward Step | 4'x8' | Charcoal, Torn Paper, Cloth

  •  Homeless In The Promised Land | 14'x8' Charcoal, Torn Paper, Installation

    Homeless In The Promised Land | 14'x8' Charcoal, Torn Paper, Installation

  •  Collection:  Arthur Primas | Urban Camouflage, Street Warrior | 4'x8'

    Collection: Arthur Primas | Urban Camouflage, Street Warrior | 4'x8'

  •  My Beauty Is Not My Beast | Pastels, Charcoal, Torn Paper

    My Beauty Is Not My Beast | Pastels, Charcoal, Torn Paper