Charles E. Siler Bio

 
Charles E. “Chuck” Siler, was the featured exhibitor for the Southern University Museum of Art’s Founders’ Day opening on March 8th, 2007. There was also a second opening on Saturday, March 10th celebrating his recent  departure from state service.

A graduate of Southern University, with a degree in Fine Arts, Siler studied with Jean Paul Hubbard, Frank Hayden, and Harold Cureau as an undergraduate and credits a number of other artists as influences over the years. While an undergrad at Southern he cartooned for the school newspaper The Digest and wrote a humor column and contributed artwork to The Cat (yearbook). After being given the Digest Staff Award, he edited the paper during the summer of 1965. His artwork has appeared in exhibits across the country and is in international collections.

After graduation, Siler moved to the Los Angeles area and counted among his memorable experiences having had the opportunity to execute a stage design that was used for the American Theatre of Being production of Vincent Williams ’ “The Loudest Noise In The World” at the Coronet Theatre in West Hollywood.

Following service in the U.S. Army (U.S. Army correspondent during his tour of duty in Viet Nam), Siler returned to Southern University as Sports Information Director and Assistant Public Contacts Director. In 1971 he returned to California and worked for Black Associated Sports Enterprises, Inc. producers of the Grambling College Football Show. Siler wrote and directed a special segment of the film “Grambling Takes It All Back Home.” He also wrote and produced cartoons and illustrations for a number of publications including Soul and Soul Illustrated magazines, The Soul and Jazz Record among others. A black and white sketch used in Billboard Magazines 1984 Michael Jackson edition was seen by more than six million readers worldwide. After the closing of BASE, Siler continued working as a writer–illustrator and consultant in the film, television and entertainment industry. Before returning to Louisiana, Siler partnered with writers Bill Farley and Ray Richmond to produce a spoof, The Unofficial Guide to the 1984 Games which poked fun at the plethora of official guides produced when the Olympics were held in Los Angeles.

Siler returned to Louisiana and in 1985 became Division Information Representative and, later, Program Coordinator for the Division of Black Culture, then housed in the Department of Culture, Recreation, and Tourism. His production experience was called into play as he worked in the African American community assisting organizational (museums and cultural centers) and festival development. He still found time to maintain a studio through the mid-nineties and pursue his art.

Siler, a native of Baton Rouge, Louisiana returned to Louisiana in the 1980s and went to work for the Division of Black Culture in the Department of Culture, Recreation, and Tourism and was instrumental in assisting the development of many of the state’s African American museums and cultural centers.

After a brief hiatus, he joined the staff of the Louisiana State Museum in 1989 as programs curator while also coordinating African American Outreach for that organization. During the 1990s, Siler was curator for three major exhibits—The Sojourners at the Museum of the Americas (New Orleans) and a statewide exhibit of African American artists at the Masur Museum of Art (Monroe). He also curated the exhibit, “Capturing The Flash: African American Artists View The Mardi Gras Indian” and a traveling exhibit “An Artistic Sojourn Thru The Afro-Louisiana Experience” viewed by more than a million people during its travels.

Siler also created the still-popular “Music At The Mint” series that has featured such artists as Alvin Batiste, Ellis Marsalis, Harold Battiste, Michael White, Henry Butler, Sam Henry, Kidd Jordan, Raful Neal, Henry Gray, Tabby Thomas, Harold Brown and a host of other entertainers over the year. Siler created and hosted the first museum “Poetry Jams.” He has produced programs in conjunction with the National Park Service—“Revolutionary Repercussions: Impact of the Haitian Revolution on the Louisiana Purchase”—and The Old State Capitol Museum—“The Baton Rouge Bus Boycott”—and a host of organizations around the state and nation. For seventeen years he was a presenter at the annual Jazz and Heritage Festival in New Orleans at the African Heritage and Allison Minor Music Heritage stages. Siler, for four years, did the initial development work on the then-proposed State Civil Rights Museum. Siler’s work and study on Louisiana African Cultural traditions, particularly the Mardi Gras Indians and Second Line traditions has earned him invitations to speak and present on subjects that have found their way into his drawing and painting.

A sought after presenter-lecturer, he has appeared in almost every type of venue including a fill-in deejay stint on WWOZ Radio and appearances in such documentaries as “Black In Louisiana,” “Voodoo In New Orleans,” and Royce Osborne’s award-winning “All On a Mardi Gras Day.

Siler has narrated several award winning radio productions by David Kunian including “Meet All Your Fine Friends at The Dew Drop Inn,” “Guitar Slim,” and “James Black: Guardian of The Groove.” It is his voice that narrates the 1927 flood video in the new Baton Rouge museum and is among those in its whispering wall. He recently played the character “Stick” in a student film produced by Emerald Bayou Studios that starred legendary Baton Rouge bluesman Henry Gray.

He has exhibited at the Salter Gallery, The Gallery in The Courtyard, Mumbo Jumbo and the California African American Museum in Los Angeles, The West Baton Rouge Museum, The Arna Bontemps Museum (Alexandria), Ashe Cultural Arts Center (New Orleans), The New Orleans African American Museum and the Black Heritage Gallery in Lake Charles. He has work in private collections worldwide and that of Cultural Crossroads in Baton Rouge.

A Katrina evacuee Siler spoke on New Orleans history and culture at Montgomery College (Rockville, MD), Brookhaven College (Dallas, TX), The American Educational Research Association (San Francisco) and the Smithsonian Institution’s  National Folk Life festival where he presented the Hot Eight Brass Band, The Dixie Cups, Davelle Crawford and Big Chief Monk Boudreaux.

His Southern exhibit ((2007) “Rhythm n’ hues and Katrina’s Blues” was a mix of works, one dating back to his senior exhibit at the university. It ranges from traditional to modern expressing a variety of emotions and a wry sense of humor His editorial bent is evident throughout his work and his post-Katrina work makes its own statement, underscoring his African-centered views.

Since his retirement he is a resident of Carrollton, Texas where he resides with his wife, Rhonda Miller and son Daniel.

Source: Pairlist

Chuck Siler's Jazz Angels Deep Water Blues--New Orleans loss is Dallas' gain!  When New Orleans artist Chuck Siler evacuated to Dallas after Hurricane Katrina, and he decided not to return, Dallas gained another master artist. aka CHUCK SILER: THE DALLAS DEBUT marks Siler's first solo exhibition in Dallas and includes a variety of media and themes ranging from New Orleans' lively and unique jazz scene to its lively and equally unique political scene. Siler gives us a glimpse into this treasure of American cities as only a native can, using his art to comment on its complexities, warts and beauty marks. His work spans the gamut of media from fine watercolors and acrylics to biting political cartoons, most of which find their way into various publications monthly.  Come out and MEET THE ARTIST on Saturday, September 13 from 5-7 pm have a little jambalaya courtesy of Dodie's Seafood Cafe and welcome him and his wonderful art to Dallas!  This exhibit is a part of the DADA Fall GALLERY ARTWALK.  Visit www.dallasartdealers.org for a complete list of ARTWALK locations. Opening is Saturday, September 13 at 5 pm.  FREE  This exhibit  runs through November 1, 2008.

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Holiday Cards

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State manumission

Rudy,

Will tell you more later but I am no longer with the Louisiana State Museum.  There were issues over where I could work because I was advised by my physician that the environment was not good for my health.  I'm limited to visits (preferably when it's raining) to the city.

The bureaucrats saw things differently and their training in the other arts made them far wiser than that poor guy who's only been practicing medicine for over thirty years.

In short, I retired and am, now, living in Carrollton, Texas.  I'm getting ready for an exhibit at my alma mater (Southern University) in March and will be having a special opening to celebrate my manumission. You would appreciate this better than many - the promontory by the bend in the river at Southern was known as Free Nigger Point - a name given it because those who made it across the river during the early days of the plantation at Scott's Bluff were free.

I'm working on a painting called "Free Nigger Point" that I'm donating to the collection because a great many of us were inspired to keep our minds unchained. For me, it's an appropriate place to transit careers. I'm working on an illustration project that I'll keep you posted on.

The next few months, however, are going to be spent getting ready for the Southern exhibit and getting used to not having to go to the office and put up with b.s.  Life outside of the plexiglass box isn't too bad.

Kindness, joy, love, and happiness. Celebrate whatever! Chuck Siler

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How Kalamu and I Met It was at Fort Bliss in 1968, I was there for about a month and used to like to spend time jamming with other musicians in the service club.  I walked into this room one evening and there were some guys on stage playing and a white kid was at the microphone ruining some tune. I stopped to listen and the drummer, fed up with the singer, did a classic cymbal crash and ordered him off the stage.  Then he called out to me, "Say bruh...can you sing?"  I said yes and joined them on the stage.  It was fun.  The drummer was Specialist 5 Val Ferdinand. He found out I was from Baton Rouge and he was from just down the road.  Both of us were out there in the desert and we became friends.  Before I left, we had a chance to see Hugh Masekela at U of Texas El Paso and the friendship lasted. After I returned, I had the opportunity to help Preston Edwards when he began the development of the Black Collegian (on my kitchen counter in Baton Rouge).  We stayed in touch when I returned to live and work in California.  Val Ferdinand, renamed "Pen of Peace" - Kalamu ya Salaam was now editor. The last smile came on my 60th birthday when he presented me with "The Best of Lou Rawls."  I'm a baritone and used to love Lou, knew all of his stuff...etc. etc. etc. I still call Kalamu "my drummer"; he's always on the beat. Thought you might like that story.  Beats Goldilocks and them Bears. Chuck

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Chuck Siler on Black Men and the Presentation of Culture

The South Dallas Cultural Center in partnership with the Dallas Heritage Village will present a multimedia lecture by former New Orleans resident, Chuck Siler.  Mr. Siler recently retired as the Programs Coordinator and African American Outreach Coordinator for the Louisiana State Museum. This lecture will look at the myriad of ways Black men have created new art forms and their role in presenting and preserving cultural traditions to the African community.  Groups like the famous Mardi Gras Indians and the second line musicians will be
showcased along with many others in this spirited lecture.
 
Chuck Siler moved to Dallas with his family after Katrina and has decided to make it his home.  He brings a wealth of knowledge to the city and plans to immerse himself in the arts and cultural community while here.  His past achievements include writing for numerous publications, designing for the American Theater of Being, and assisting in the establishment of  African American museums throughout Louisiana, narrating radio programs for PBS and appearing in the documentaries "All on a Mardi Gras Day" and "Voodoo in New Orleans."  In addition, Chuck Siler has a distinguished visual arts career most recently showing his work in a one man exhibition at the Southern University Museum. His next exhibit is scheduled for the Southern University Museum of Art in Shreveport, Louisiana.  This lecture is FREE and open to the public.
 
The South Dallas Cultural Center is a program of the City of Dallas Office of Cultural Affairs.  All programs are subject to change without notice.  Visit www.allasculture.org  for a full listing of South Dallas Cultural Center programs.   Vicki Meek (17 May 2008)

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Registering to Vote in Baton Rouge

Folk,

I'm passing this on to you, my special people.  Renette at the Louisiana Weekly wanted something for the paper and this is an overnight (bleary eyed this a.m.) production.  Since a great many of you on this list are outside of New Orleans, I wanted you in on it.
DO have a good weekend, especially you community organizer types. (Smile):

When I was 19 (back in 1962) I ran the voter registration office for the NAACP in Baton Rouge.  I walked South Baton Rouge, mid city and areas known to Baton Rouge as the Lake and The Park.

I remember one lady whose name I remember as "Mrs. Williams" who was 84 at the time and had never voted.  They found reasons to "fail" her twice with the added threat that, one more failure would mean that she couldn't come back for something like six months to a year.  She wouldn't quit and had me come back to her house and drill her on that test over and over again until there was no way they could stop her.  I might also note that they would make subtle changes on the "test" (actually a registration form for whites, a test for Blacks).  I went with her and walked into the downstairs area thru a gauntlet of deputy sheriffs who stepped back and stood against the wall as she walked through. I remember her, head held high, grim (Mary McLeod Bethune-like) expression on her face.
Every uniformed face in that hallway was mean and wanted to be intimidating like at any moment they might attack her... She epitomized cool and eldership and they stepped aside.

As I said, I was nineteen years old and not afraid to die.  I was dressed in a tie and jacket and, a la' Mike Connor's on that television show Mannix, I had a .25 caliber in the small of my back.  Fortunately, I didn't have to pull and use it because, had it come to that there would have been a memorable headline.  I might note that I was no longer enamored of nonviolence and was getting closer to Malcolm X in terms of my defensive philosophy.  Plus, as a descendant of the "Shooting Silers" I was responding in the manner of my father and uncles who believed in self-defense.

She went into that office, filled out that form and whatever spirit was with her that day, pervaded the atmosphere and one of the best moments in my life was when she stepped out of that door and smiled.

She came to mind because, on my last visit to Baton Rouge, I drove through where she had lived and most of the houses were gone.  She lived on 24th or 25th Street near Capitol High School. 

Though I've gotten old and can't remember if her real name was Williams, I do remember that face.  I remember Reverend Jelks being happy and my other mentor Reverend Walker smiling when I told them how she parted the Redneck Sea at the courthouse that day.  The NAACP Secretary, Pearl George, and I celebrated at the office with a soda pop toast.

A lot has happened in 46+ years. Chuck

Holiday Cards

Ear Candy: Visual Art on the Subject of Music April 21 – May 9, 2009 Mokah Gallery * 2803 Taylor St. / Dallas, TX 75226 * 214/651-0633 Artists Receptions: Saturday, April 25th, 4-7 pm / Thursday, May 7, 7-9pm Chuck Siler is participating in the “Ear Candy: Visual Art on the Subject of Music  Exhibit,” a fundraiser to help support musicians.  All of the artwork is music themed. He has entered the Silas Hogan painting, a small watercolor (left). Hogan has always been one of his favorite subjects. The painting is in part a tribute to Baton Rouge which is, in Chuck’s estimation, the blues capitol of the region.

Some of your Dallas area folk saw the piece on last nights' opening.  I've turned a few of the young artists on to ChickenBones.  The "kids" love it.  (I discovered that I'm twice as old as damn near every participant in the show...feels strange but the youngsters that I talked to understand that it's only the body that wearing out.....) Thanks for your help.  I'm working on some color things that will fit ChickenBones.  Also, I'm working on illustrations for Arthur Phisters' books in progress.  The book of poetry is named after his poem My Name Is New Orleans . . .he's still kicking. Stay well. Chuck

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posted 17 September 2008