![]() ![]() And it was everywhere.ĬHANG: Everywhere in the U.S., including in Sugar Hill. And he would show how the covenants were worded - no Blacks, no Jews, just blatant hate. R NICKERSON: When my father would talk about covenants - as a child, I worked with him in his real estate business - and covenants were alive and thriving, you know. Ra Nickerson remembers her dad explaining this to her when she was really young. MEHTA: This thriving community in Sugar Hill existed despite a powerful tool that white residents were using to keep neighborhoods white - the racially restrictive covenant. On screen, she may have played a housekeeper or an enslaved person, but here in Sugar Hill, she hosted extravagant soirees in her sprawling mansion where people like Duke Ellington and Ethel Waters would perform. By the 1940s, Sugar Hill was home to some of the most prominent figures of Black Los Angeles - doctors, entrepreneurs, oil barons, even Hollywood stars like "Gone With the Wind's" Hattie McDaniel. And we'd go up and down the streets selling lemonades.ĬHANG: Berkeley Square was part of a larger neighborhood called Sugar Hill, which was named after a wealthy Black section in Harlem. ![]() And we sell lemonade at the east end of Berkeley Square. There were all kinds of, like, craftsman houses - five, six, seven bedrooms. ![]() They lived in a charming little pocket of central Los Angeles called Berkeley Square. Van was just 3 years old, his sister Ra was 4 when their family moved here almost 70 years ago. MEHTA: Their house is now where the Santa Monica Freeway is. VAN NICKERSON: What she's pointing to, right there where that sign says this quarter next 3 exit, lift it up, our house is right about there. R NICKERSON: Yeah, that's where Berkeley Square was. JONAKI MEHTA, BYLINE: This is what Ra (ph) and Van Nickerson's (ph) childhood home sounds like today. The story of Sugar Hill brings to life many of these ideas we just talked about - segregation, racist covenants and who has the right to live where. We're going to go back in time now and visit a neighborhood in Los Angeles that no longer exists. 2007, Isle of Palms, SCī 1909, Baltimore, MD d. 1976, Washington, DCĪskew, Elizabeth Hoevel ī. 1986 (buried in Arlington National Cemetery, Arlington, VA)ī. 2004, Greenville, SCĪlbers, Annelise "Anni" Elsa Frieda Fleischmannī. Please contact the collection’s registrar, Holly Watters, with any corrections or additions to this digital directory.ī. Intended for professional and lay audiences alike, this documentary asset offers any number of dangling threads that may, in time, entice another curious cultural scholar to pick up the trail and begin crafting a new contribution to the whole. ![]() When a listed artist is represented in the Johnson Collection, her name is linked to additional information on this website. Artists who achieved significant professional recognition under both a maiden and married name are cross-referenced. Marital names that were not used as an artist’s primary identity are denoted in braces. Within name listings, alternate spellings are noted where we discovered persistent records of such variations. With those caveats in place, the information presented includes: artist’s name (including birth and married names, nicknames, professional monikers, and pseudonyms, where applicable) artist’s life dates (ideally with birth and death locations, and occasionally with place of burial) and the Southern state or states with which the particular artist was associated (whether by birth, residency, education, or exhibition activity). Sourced from scholarly and primary materials, as well as museum archives, exhibition records, and socio-cultural records, the list is neither exhaustive nor perfect. Now numbering over two thousand names of established, exhibited female practitioners, this index is not comprehensive and is emphatically not presented as such. This directory seeks to address-and redress-the lack of a comprehensive codex of Southern women artists active between the late 1890s and the early 1960s, the period surveyed in TJC’s most recent book, Central to Their Lives: Southern Women Artists in the Johnson Collection. While many of the artists connected to the region are widely known and duly noted in the canon of American art history, far more fine artists-and female artists, in particular- have been overlooked. Through its academic research, the Johnson Collection has worked intently to document and celebrate the achievements of artists associated with the South. ![]()
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