Harlem Art Teacher, Two Others Receive Awards

Accompanied by the twanging harmony of a traditional African string instrument, the members of the Nubian Women’s Art Circle announced the 11th Annual Circle of Art Awards in a presentation at the Bank Street College of Education Friday evening.

The group provides financial support to artists and artistic institutions, awards scholarships, and has even sponsored trips to South Africa to foster dialogue between black artists in Africa and America, according to Chair Elaine Greene. But Friday’s event was held in honor of three artists who have been especially influential in promoting art of the African diaspora.

The central honoree was Betty Blayton, who despite her reputation and the lengthy introduction she received, scuttled away from the podium after only a “Thank you so much” and a giggle. Despite her humility, Blayton was convinced to return for a full acceptance speech. The other honorees were David D. Byer-Tyre and Lorenzo Pace.

One on one, Blayton was more open and eager to discuss her work. She was born in Virginia in 1937 but settled in Harlem in the 1960s, where she began teaching.

“I never thought I would be an educator,” Blayton said. At first, “It was just a means of putting the bacon on the table.”

Yet she realized through working with her pupils that they had no readily accessible artistic venues for inspiration—one exhibit was held in a furniture store. So she pushed for the opening of the Studio Museum of Art in Harlem in 1965.

Blayton’s efforts, she said, were motivated by a personal desire to benefit her pupils.
“I had no idea how much politics came into it,” she said, noting that then-Senator Robert Kennedy was involved in the conception and establishment of the Studio Museum.

Blayton has tried to maintain that distance from politics in her teaching—while she infuses her lessons with historical and social perspectives on Harlem and African American life, she aims to provide perspective rather than to “force anything heavy-handed” on her students.

Blayton acknowledged that Harlem is changing due to gentrification, and said this has affected art programs for African American students.

“These are people who may not have enough money to live in midtown, but they certainly have enough to live here,” Blayton said. “There’s always the concern that the youngsters who really need the attention could be usurped.”

But it was only as a teacher that Blayton seemed concerned about gentrification. She said she didn’t like a lot of modern African American art, like that of Kara Walker, because it was too conceptually driven, using negative images to spark a shock reaction and force a cultural message on the viewer.

“I get a bit upset about so much negativity­—it’s just pornography,” Blayton said. “My own work is spiritually inspirational, and I don’t think negativity’s necessary.”

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