Praise for Giving Back

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P R A I S E

“This is the most powerful representation of philanthropy that I have seen in more than a decade in this field. The stories, the quotes, the voices and the photographs are uniformly vivid and extraordinary….A reminder that, in its roots, philanthropy should be felt, not thought.”

— Robert K. Ross, M.D., president and CEO, The California Endowment

“Giving Back shines a long overdue spotlight on the legacy of giving which is so much a part of the African American community’s DNA and spirit. Writer Valaida Fullwood and photographer Charles Thomas Jr. have beautifully captured both in words and pictures untold stories of generosity which move and inspire. Giving Back should be positioned in a place of honor on the bookshelf and coffee table of every black family in America.”
— Judy Belk, senior vice president, Rockefeller Philanthropy Advisors

“Through a rich tapestry of voices and images, including inspirational interviews, stunning photographs, thoughtful commentary, and wide-ranging quotations, Giving Back captures the essence and generosity of African American donors as never before. No one—including the leaders of non-profit organizations—could fail to be moved and enlightened by these vivid reminders of the potential of African American philanthropy.

“The book is beautiful and so inspirational, I now know what I will be getting everyone as a Christmas present!”

— Michele Minter, vice president for development, The College Board

“Astonishing . . . so beautiful, so deep and yet so inviting.

“Giving Back belongs in every American home, not just every home of Americans of African descent. Each page connects the readers and the children they love to generosity that God, the Declaration of Independence and our awe-inspiring Black forebears taught us all.

“A visual triumph. A story that has not been told!”

— Claire Gaudiani, Ph.D., author of The Greater Good, Generosity Unbound and Daughters of the Democracy

“Indescribably powerful presentation in images and words of philanthropists who understood their actions of ‘just trying to lend a hand.’ Engagingly spiritual which will energize readers yet unborn.

“A must have.”

— The Reverend Clifford A. Jones, Sr., senior pastor, Friendship Missionary Baptist Church

“Weaving photographs, testimonials and personal stories of Black people from all walks of life, Valaida Fullwood has created a work of art that reveals the essence of philanthropy—which is giving. For centuries, Black women, men and children have been giving in ways that defy traditional definitions of philanthropy.

“Giving Back is a revelation. Readers will be astounded by the breadth and depth of Black philanthropy.”

— Deborah Holmes, vice president for communications, Global Fund for Women

“Philanthropy. Does that word make you think of some 19th century captain-of-industry sitting in his office, doling out bits of his fortune? This marvelous book will give you a fresh perspective. ‘Giving back’ is rooted deep in African American history. And it’s often done with a community approach, rather than by a lone individual. Charles Thomas’s artful photographs and the inspiring words by Valaida Fullwood and her community of collaborators carry a powerful message: Philanthropy is something that we all can do.”

— Tom Hanchett, Ph.D., staff historian, Levine Museum of the New South and author of Sorting Out The New South

“It’s difficult to capture into words all the emotions I felt as I read through this book.

“Giving Back is simply beautiful. Beautiful through its stories. Beautiful through its photography. Beautiful through the real narratives of generosity and philanthropy. Beautiful through spirituality. Beautiful because of the hope it inspires from our past, for our present and the future.”

— Eugene Cho, co-founder and executive director, One Day’s Wages

“You just never know what will generate the spark that transforms a life, a community or a people. It might be that kind, encouraging word; or maybe ‘a couple of bucks to help you get by;’ how about the time that you spent with me sharing the secrets to your success; or, the scholarship that you gave privately so I could attend summer camp. You just never know what little thing (or great thing) will provide that inspiration for another to soar to higher heights.

“That message is loud and clear within Giving Back. It leaps out at you when you read the individual profiles that are provided by sons, daughters, mentees and admirers. It is prevalent in the responses to the book’s probing questions. Giving Back will be a great read for anyone who has an interest in making a difference!”

— Richard “Stick” Williams, president, Duke Energy Foundation

“This book shares the stories of men and women whose philanthropy, big or small, is an indelible part of American history. Through their individual and collective generosity, children were educated, families were strengthened, communities were built and their legacy is a bridge for the next generation. On each page, I recognized—if not by name—the spirit of someone I know and respect. These lessons on the ‘love of humankind’ are universal.”

— Deborah J. Richardson, executive vice president, National Center for Civil and Human Rights

“Giving Back is a must have book for all! It brings to life African American giving and highlights philanthropic acts that many of us perform daily without naming it ‘philanthropy.’ The combination of photographs and narrative effectively reframes the dialogue on philanthropy, particularly among the unsung heroes and heroines contributing to daily growth and prosperity in our communities.

“A must have book of our history and a great teaching toolkit!”

— Ivye L. Allen, Ph.D., president and CEO, Foundation for the Mid South

“Never again will I frame my conversation on how African Americans give under the guise of ‘Black people give differently—our philanthropy is different because we primarily see giving through our faith.’ We give holistically!

“Valaida Fullwood’s Giving Back captivated me from the cover photo where I connected with the hands—memories of my grandmother’s skin—lined with dreams deferred and the promise of aspirations and achievement. Giving Back is indeed a form of personal engagement as well as deep conversational sharing. It is undeniably the missing formula to the roots of African American philanthropy. Simply stated: Giving Back, through stories of everyday people aided with photography of the moment, is poignant and more of a revelation than any article or research publication on the topic of African American giving.

“Since reading Giving Back, from now on, I will tell my philanthropy story with pride and without excuses or apologies.”

— Ruby Bright, executive director, Women’s Foundation for a Greater Memphis

“Giving Back looks poignantly at the notion of giving. The meticulously edited narrative enlightens us about the idea of caring and sharing communities. From this book, one sees through Thomas’s photographs relationships marked by respect and honor. The text and photographs inform the reader about strength, in multiple perspectives.

“Through the rich photographs—which are full of spirit and beauty both enhanced by the framing of the subjects—we see Thomas’s respectful eye. The book simply tells us that Black people care which is evidenced in the photographs and the narratives. This book is useful for anyone who is interested in philanthropy but also will be appreciated by people who have a love for portrait photography.

“Giving Back is a valuable resource and, in my view, will encourage others to reconsider what it means to give.   It is a welcomed addition to books promoting this field. I found the idea of the book stimulating, as it is a much overlooked discussion. Fullwood and Thomas assembled a remarkable book that informs and honors. It enables us to imagine through the quotes, as the photographs illuminate and engage us about the pleasure of giving.”

— Deborah Willis, Ph.D., NYU professor, author, historian, photographer and   2000 MacArthur genius award recipient

“Beautiful. Powerful. Poignant. Giving Back is more than a book: It is a gift to each of us given the opportunity to walk this journey through each page, each voice, each story and each photograph. Philanthropy is practiced in many different ways around the world. Giving Back teaches us that philanthropy is practiced in many different ways right here at home—in our history, our present and our future.”

— Steve Gunderson, former president and CEO, Council on Foundations

“This book is a must read for all who want a truer and deeper understanding of American philanthropy in particular philanthropy in the Black community. Historical analysis and rich personal stories…it’s all here.”

— Wenda Weekes Moore, trustee, W.K. Kellogg Foundation

“In 2011, The Links, Incorporated celebrates 65 years of giving back to communities across the nation. Our founders believed that as educated and successful African American women, we should do whatever is necessary to serve those of African descent and assist in closing gaps in education and providing support for the underserved. We do this still today, through philanthropic as well as humanitarian services. As authors Fullwood and Thomas expressed in Giving Back, philanthropy has been the thread that held and continues to hold our communities together. The Links, Incorporated strives to become an even greater force, known everywhere for our philanthropic support. Our hope is by giving back, we will play an intricate role in enabling and influencing a positive future for an infinite number of generations. ”

— Margot James Copeland , National President , The Links, Incorporated  and The Links Foundation, Incorporated

“Giving Back is a beautiful book that masterfully demonstrates the power of African American giving. Through riveting photography and engaging vignettes, Valaida Fullwood tells the story of philanthropy at its purest. Giving Back showcases the diversity in giving that has taken place for centuries and continues to thrive in Black communities. Anyone interested in philanthropy, Black giving, and African American history and culture will enjoy reading this wonderful new book.”

— Marybeth Gasman, Ph.D., professor, University of Pennsylvania and author of Uplifting a People: African American Philanthropy and Education

“Valaida Fullwood’s Giving Back provides full exposure to the philanthropic treasures we as African Americans have always shared but are rarely credited with in discussions of African American philanthropy. This photographic masterpiece, which certainly tells a story, gives viewers an opportunity to develop their own story as well. What a way to learn!”

— Nelson Bowman, III, director of development, Prairie View A&M University

“Individual giving, organized giving and planned giving are important conversations that need to be elevated in the African-American community like never before and Giving Back is a powerful and beautiful conversation starter.”

— Pat Macdonald, executive director, Black Community Fund, Kansas City, MO

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Vessels From The Heart

Posted on 22 May 2013 by valaida

To prepare an award nomination, Anne Lambert recently interviewed the artist Charles Farrar. The discussion covered Farrar’s contributions to his artistic tradition and impact in North Carolina. Below is the written piece that Anne compiled.

There are two Charles Farrars—the first, a retiree enjoying his leisure time after a 25-year corporate career, and the second, a world-class North Carolina artisan and teacher whose finely crafted bowls and vases are spectacular examples of the art of woodturning, prized by museums and private collectors.

Charles Farrar Artist Statement:

My fascination with the many properties of wood began when I was a child growing up in Southern Virginia. I am happiest when creating from found woods that feature irregular grain patterns, knots, burls or voids, such that the finished work provokes a different commentary. I work using a custom built Nichols lathe and tools for the different stages of turning; shaping, hollowing, etc. Ecological sensibility prevents my harvesting living trees solely for the purpose of turning vessels. Some of my vessels are classical forms with finely finished surfaces. Others have hand carved, textured or pigmented surfaces. I’m reminded of my ancestors when I embellish the surface of a piece. While Sub-Saharan Africans were master carvers, it was the Egyptians in North Africa who gave to the world the process of turning wood using a lathe as early as the time of the great pyramids.

Since 1997, Farrar’s artwork has shown in major U.S. cities including Albuquerque, Charlotte, St. Paul, Richmond, Atlanta and New York. Work has been on permanent loan with the State Department at the United States Embassy in Madagascar. His recent exhibit schedule includes The Mary Martin Gallery, Charleston, SC; Old Courthouse Galleries, Concord, NC; Whitespace Gallery, Winston-Salem, NC; The American Association of Woodturners Invitational Exhibit, Albuquerque, NM; The Gregg Museum at NCSU School of Art and Design, Raleigh, NC; and the Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC. Among corporate commissions/purchasers are Bank of America, First Citizens Bank & Trust Company, and The David Geffen Playhouse, Los Angeles.

Work is in the permanent collection of the Danville Museum of Fine Art, John & Vivian Hewitt Collection (at the Harvey B. Gantt Center in Charlotte), The Episcopal Diocese of Southern Virginia, Essence Magazine editor, Susan Taylor; actress, Debbie Allen; author and poet laureate, Dr. Maya Angelow; Former US Solicitor General, Walter Dellinger; Artist/Art Historian, David C. Driskell; The White House Collection, and The Archbishop of Canterbury.

Farrar’s studio is in Concord, NC. This is where he lives and creates his beautiful works of art. Farrar moved to the Charlotte area in 1974 when he began his career working for Southern Bell (now AT&T). He describes how he became interested in woodturning:

In about the twentieth year of my corporate career in Charlotte, North Carolina, I purchased a turned wood vessel from artist David Goines during the SpringFest street arts festival. I liked the Camphor wood vessel so much that the next year—maybe 1991—I went back to the festival hoping to find the same artist. I did and said to him, “I’m going to buy another vessel, but I wish I knew how you did this.” He understood my fascination with his vessels, and he said, “Come up the mountain next Saturday and I’ll show you everything I know about woodturning.” He was my first mentor. For half a year I would take the best examples of my work from the previous two-month period for him to critique. He was very direct in his criticisms; he drove home the point that wood art is collected for its line and form more than wood color. Goines always left me inspired and wanting to improve my skills. Turning wood was just a hobby for me at that point. A few years later I took an early retirement from my corporate job and had the time to immerse myself fully in my hobby. Within two years of my retirement, a very fine gallery in downtown Charlotte saw my work and offered me a solo exhibition. It is then that I began to think of myself as an artist.

The ‘very fine gallery’ in downtown Charlotte was owned by B.E. Noel, who first encouraged Farrar to sell his works. When B.E. told him she wanted to represent him, Farrar laughs, “I asked her ‘What does that mean?’” Within a year, Noel Gallery had sponsored a major exhibition of his work and he began displaying at art shows and festivals. B.E. Noel moved her gallery to New York in the mid 2000s, but continues her exclusive representation of Farrar to this day, although his work is also shown in galleries across the US, including Los Angeles, Seattle, Atlanta and Charlotte Fine Art Gallery.

Farrar describes the ancient threads and meticulous techniques that provide inspiration for his work:

I am drawn to hollow turned vessels, usually with walls about 3/16″ thick, where the inside wood chips have to be evacuated through the small opening at the top center. The challenge of hollowing large vessels through small openings is addictive. I am very much moved by shapes of ancient ceremonial and utilitarian vessels from the Motherland, if you will, and I am especially partial to the perennial egg shape, which works, no matter whether the pointed end is fashioned as top or bottom.

Not everyone knows that historians now agree that the woodturning device, the lathe, was given to the world by the Egyptians some 4,500 years ago, about the time of the Fourth Dynasty or the period of the great pyramids. When I teach the woodturning process at craft schools—i.e., Arrowmont or John C. Campbell—I also show hand-carved bowls that demonstrate how sub-Saharan Africans created beautifully formed and adorned vessels, using solely their skills as master carvers. In my collection is a large hand carved Senegalese bowl from a Fromager tree, perfectly round, except for delicate hand tool marks.

As a woodturner, I hope to create vessels that speak to people who have a love of this very ubiquitous and tactile medium. I hope that my audience will appreciate and enjoy my sometimes use of color and other enhancements on turned and/or carved vessels. I believe that wood happens to be my canvas, and that I have license and freedom to be as creative as the imagination allows. If line and form (design), surface texturing or carving is appropriately executed, then the work will appeal to the greatest number of admirers.

When asked about how he turns a piece of wood into a work of art, Farrar speaks with passion about his process:

It simply boggles the mind sometimes! Whenever I see a blank of wood and I put it in my lathe, soon, within a few hours or a day, the shape of the art begins to reveal itself. [After all these years] I am pretty much able to see the shape inside the wood before I start the process. Sometimes I will spend half a day just seeing the wood, rolling it around in my hand, seeing the grain pattern, or the knots or the void, seeing how I might be able to feature that knot or that void. I [often] go in the opposite direction of a museum quality piece of wood. I prefer those blanks with a flaw, because the flaw is where the character is and where the story is. The story can be as valuable as the piece itself.

Just as David Goines mentored him, Farrar feels compelled to teach others. He has taught at the John C. Campbell Folk School in Brasstown, NC and at Arrowmont School of Arts & Crafts in Gatlinburg, TN. “When the schools invite you,” Farrar says modestly, “it’s something of a comfort that your work is being recognized, and that they welcome your ability to share your art and your craft.”

Farrar is especially motivated to inspire young African-American artists. “There are so few blacks [who are practicing traditional crafts], yet we were the folks who first made our lives easier by creating and fashioning things that we could use that were also beautiful. But we didn’t carry it forward as we should have.” Farrar recalls attending a national conference for traditional craft making. “Out of 1,500 attendees, fewer than 10 looked like me [were African American], and that was an increase from five a few years before.” Farrar also recognizes that few public high schools still offer shop and industrial arts programs, where students might have previously learned these specialized skills. As a result, Farrar feels obligated to “go back and give back…to excite these young folks” by exposing them to traditional crafts and wood turning. The first project he often gives high school students is to make a pen. “We make a pen, a usable, workable pen – and these students get so excited, their faces light up and they get a gleam in their eyes, they can’t believe that they have made something so beautiful and useful. They don’t want to stop creating art. I owe it to them to help them.”

Farrar was honored in 2010 when Charlotte Mayor Anthony Foxx presented President Barack Obama and Mrs. Michelle Obama with a gift of one of his works, a turned hemlock vessel with a lid adorned by a filial. The work (featured in the photo above) is now part of the White House collection. Farrar’s work was also featured at an exhibition at the Harvey B. Gantt Center—Romancing the Eye: Louis Delsarte, Charles Farrar and Larry Lebby—from June 25 through September 3, 2010. A video of some of Farrar’s works from that exhibit can be found here. More information about Charles Farrar and his portfolio can be found here.

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Anne Lambert, today’s guest blogger, is an accomplished non-profit professional with more than 20 years of experience in fundraising, project planning and arts management. She has worked as a fundraiser, grant writer and development consultant for a variety of organizations, including Harvey B. Gantt Center, Carolina Raptor Center, North Carolina Dance Theatre, UNC Charlotte, Charlotte Mecklenburg Schools, Charlotte Country Day School and Foundation For The Carolinas. Anne also is an actor, director and producer and two-time Metrolina Theatre Award acting award winner. She has produced plays, theatrical events and fringe theater festivals in Charlotte, Atlanta and Philadelphia.

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