The photo above shows sixth graders immersed in the ‘Beacon to the World art exhibit by the Campus School of Smith College (@campusschoolofsmithcollege).
Artful adventures are vital to normalizing and integrating art into an educational experience. Smith College Museum of Art’s (SCMA) art-making activities and engagement with the artworks are primary paths to enjoying the museum. We were impressed that ‘Beacon to the World,’ our Black (African American artists) art gifts on exhibit, inspired art-making projects and provided learning opportunities.
Art museum learning allows people to open up to new ways of seeing, experiencing, and connecting to themselves, others, and the broader world. In the museum setting, the young and old learn from each other, as well as from docents and guides, museum educators, artists, and professionals.
Here’s an excerpt of how SCMA’s activities and programs direct the local school children and people of all ages:
-Do Art-making at the museum. Visitors are encouraged to use supplies like pencils, crayons, clipboards, and drawing paper from the cart in the coatroom to sketch and write in the galleries.
– Dialogue is encouraged. Visitors are directed to “Add your thoughts and ideas to the Talk Back: Art in Conversation installation on the museum’s lower level. While you’re there, don’t miss the artist-designed restrooms!”
-Engagement with the art is supported. “Ask children questions to spark discussion. I’m wondering what’s going on in this picture. What do you think? What do you see that makes you say that? What more do you see? What do you think might happen next in this picture? Why? With abstract works of art, invite them to name the feeling that the artwork evokes.”
-Participation is an important activity, especially in SCMA’s family programs, such as Free Second Friday (hands-on art-making for all ages, inspired by works on view).
–“Take breaks and return as often as you like.” The atrium next to the museum is available for snack breaks.
-Extend your artful adventure by exploring the beautiful Smith College campus’s outdoor sculptures and the Botanic Garden.
-For more ideas about visiting with children, email us at museduc@smith.edu.
Thanks to a generous gift from alumnae, the Smith College Museum of Art is free to the public.
Second Friday Art-making
Here are some photos from the Second Friday at SCMA in July. Richard Watson’s “Maxine” inspired the art-making activity—photos by Cloud Osmond ’24.
I was honored to lead a ‘Gallery Talk’ with students on campus about the art my husband Byron and I gifted to Smith College. The students explored art and read labeled histories to discover our shared humanity and community.
I was prepared to discuss the arts and activism from a personal perspective. I also wanted to discuss the ‘white gaze’ and the ‘Black Feminist Gaze.’ We will get to those ‘gaze’ topics another time.
I discussed the Black Arts Movement (which I am a product of), a global cultural arts movement from 1965 to 1975 that was a response to American white supremacy and a way to fortify black – and African American culture. We considered the Black Arts Movement an extension of the Harlem Renaissance in New York. The movement’s goals were artistic, self-empowering, and community-oriented. It included establishing Afrocentric repertory theater companies, discovering and supporting visual artists, and public art projects, and going high-gear into publishing, literary, creative ventures, filmmaking, dance, theater, and more.
Most of the artists featured in our collection were leaders and part of the Black Arts Movement. The Black Arts Movement included Black artists in many genres—painters such as Betty Blayton and Romare Bearden, writers such as Sonia Sanchez, a UMass and Amherst College professor, and a poet called the ‘mother of the Black Arts Movement,’ a person whom I lived with and worked for as an au pair to her twin sons.
We discussed racism and colonialism, why few Black artists were featured in museums and mainstream galleries, and the reparative and restorative work currently taking place in museums like SCMA.
Here are some of the Student Questions
How did you get started collecting art?
Do you remember the first piece of art you bought?
How did you approach adding pieces to your collection?
Are you more drawn to subject matter, artists, etc.?
Is there work that you still want to add to your collection?
Please talk about your current and past experience and legacy at Smith.
What prompted the creation of BSA (Black Student Association), and what impact do you think BSA should have now?
You and your peers advocated, self-governed, and took action to establish spaces for Black students when such efforts faced significant resistance.
What strategies or principles would you recommend to today’s students who want to create transformative change in their communities or institutions, particularly in environments that may not always be receptive?
How has the role of BSA evolved over the years, and why do you believe it is still essential for Black student communities in predominantly white institutions to have such alliances?
With growing emphasis on STEM fields as pathways to economic mobility, how do you see the role of Black students in the arts, dance, and theater as equally vital?
Why is it important for Black voices and stories to continue flourishing in these creative spaces, especially in a world that increasingly values STEM
Looking back at your impact at Smith and beyond, what gives you the most pride?
Is there anything that you would like to see today’s Black Smithies continue or take in a new direction?
Students and L’Tanya Richmond, Dean of Multicultural Affairs, hosted a special luncheon for me after the ‘Gallery Talk’ to discuss the Black Student Alliance (BSA) and affinity groups. This photo was taken at Mwangi Center, posing under art I donated to BSA. It is called ‘The Keeper’ by artist Charles Bibbs and is a limited edition print. The artist believed that we are ‘keepers’ of our culture. His artwork creates a sense of spirituality, majesty, dignity, strength, and grace.
(The Gallery talk was co-sponsored by Smith College Museum of Art and the Mwangi Center, c/o the Office of Multicultural Affairs.)
Gallery Talk Photo Highlights
Poster to advertise Sylvia Lewis ’74’s Gallery Talk at Smith College.Students and director hosted a special luncheon for me and we talked about BSA and affinity groups – photo is at Mwangi Center posing under art that I donated to BSA
“The Keeper,” a limited print by artist Charles Bibbs, was donated to the Black Student Alliance (BSA) by Sylvia S. Lewis ’74 and her husband, Byron E. Lewis Sr. It is currently displayed at the Mwangi Cultural Center, inside the director’s office at Smith College, @mwangi_smith. The artist said that we are ‘keepers’ of our culture. His artwork is known for African American images that convey a feeling of spirituality, majesty, strength, and dignity.
Sylvia ‘Cookie’ Lewis ’74 with Jonelle Dennis, Alumnae House Art Gallery Director; Development Department.
Tea with Jonelle
Thank you, Jonelle, for the fun and impromptu tea party and private tour of Alumnae House. I forgot I had vertigo as you led me through the new interiors on several floors! I enjoyed the whirlwind giggles, delicious pastries, and tea. It was a perfect prelude before the gallery talk.
For decades, Jonelle Dennis was the first person I looked for whenever I visited campus. I claim her as my cousin-in-law because she’s a Cape Verdean like my husband, Byron. Jonelle is the Vice President of Keeping It Real Insights, a title I made up. I don’t know her exact title, but I’m confident it does not capture her many jobs and roles. She is a counselor, friend, and multi-departmental liaison for students and staff, especially alums and newcomers who need a safe place to regroup. Jonelle is a cheerful repository of campus knowledge, having worked on campus through several presidents, policies, and the pandemic. She knows where all the bones are buried!
Jonelle is kind, creative, and an ambassador for Black alums like me. She is the director of the Alumnae House Art Gallery and a Development department staffer.
The star attraction of the ’74 Reunion Weekend festivities was the Sylvia & Byron Lewis art acquisition aptly called ‘A Beacon to the World’ exhibit. The Class of 1974 returned to Smith College this past May for their 50th reunion with friends and fellow alums for a weekend filled with joy and nostalgia. Smith College Museum of Art (SCMA) hosted a special reception and private ‘behind the scenes’ tour. The exhibit ran from February through October 2024. This show attracted hundreds of visitors to the museum–the largest number ever,” said a SCMA security official who has worked there for decades.
“Since its February opening, the Lewis & Lewis art exhibit has drawn unprecedented visitors, especially during the Reunion weekends. The diverse audience, including alumnae, faculty, staff, art professionals, and even local school children, created a vibrant energy and inclusive atmosphere. This unique collection brought together a community eager to experience the beauty and significance of African American art,” an SCMA official said.
Witnessing this historic African American art installation and reception was poignant and a day of pride. The Class of 1974 was a historic group because it featured Smith College’s largest class of African American women—10%—100 Black women out of the 1000 classmates! Celebrating half a century since their graduation in a space where Black students and visitors were once unwelcome was a welcomed change.
Alumnae Comments
“Beautiful, impactful, exceptional, and generous. Blessings to you and Byron.”Denise Wingate Matierre ’74
“I can’t express how wonderfully impactful and generous your art collection will be for art lovers for generations. I am getting goosebumps just thinking about it.”Martha Yar boro Coates ’74
“Hi Sylvia, I made time last week to visit your and your husband’s exhibit at SCMA. I have to be honest and admit I don’t know much about art, but I enjoyed viewing the pieces and especially reading about each artist. I loved the vibrant colors in many of them and was drawn to the smaller pieces grouped. My time in the gallery also calmed and slowed me down–something I rarely do during a busy work day. Thank you for that time. The SCMA is a gem; your generous donation is much appreciated.
I look forward to welcoming your classmates back to campus and the museum. My best, Jodi Fallon Fern, Class of 1974
Many alums marveled at the college’s growth and development. They were incredibly impressed that art and museum studies are now vital to a Smith College education.
Finally, African American artists are included in the American art canon, where, for centuries, we were relegated to the margins of the art world.
The “Beacon to the World” exhibit was a powerful testament that reflected themes of love, hope, interconnection, and growth that resonated throughout my 50th reunion’s spirit of building community.
A gift photo book featured Class of 1974 reception for the Lewis & Lewis art acquisition.
Sarah Willie-LeBreton (Left), Smith College President, and Sylvia Lewis ’74 pose in front of a portrait of Byron E. Lewis, by artist Frederick J. Brown, at the ‘Beacon to the World’ exhibit.
When “A Beacon to the World: Art from the Sylvia Smith Lewis ’74 and Byron E. Lewis Sr. Collection” opened in February 2024, it was a historic moment for the legacy of African American artists and the Smith College Museum of Art (SCMA). This art installation, which closed in October 2024, marked the most significant alumnae acquisition (over 25 paintings and sculptures) of African American art ever gifted to SCMA. What a coincidence that this art show opened during Black History Month!
Landmark Alumnea Gift
“Yes, it’s the largest gift of artwork by Black artists for sure. I looked back through our credit lines, and the majority of works we (Smith College Museum of Art) had previously by Black artists were purchased by the museum rather than received as gifts,” according to Emma Chubb, PhD (she/her) Charlotte Feng Ford ’83 Curator of Contemporary Art.
Smith College president Sarah Willie-LeBreton expressed her gratitude for this extraordinary donation: “Smith is deeply grateful to Sylvia and Byron Lewis for this remarkable gift. The Museum of Art is among the college’s most valued resources for teaching, research, and the enjoyment of our students, faculty, staff, and community. Its collection is both broad and deep. The gift of these works adds more strength to an area the museum is dedicated to expanding. Smith welcomes visitors from all over the world to see the Lewis Collection. It has been a pleasure and an honor for me to get to know Sylvia and share her joy in the work of these great artists.”
The Lewis & Lewis collection includes over twenty-five paintings and sculptures by renowned artists such as Richmond Barthé, Romare Bearden, Betty Blayton-Taylor, Frederick J. Brown, Dox Thrash, Louis Delsarte, Elton Fax, Richard J. Watson, and more.
Legacy of Art
To explain their gift decision, Sylvia Smith Lewis said: “It’s true that our art gifts are part of our legacy. But we did not set out to build a legacy. We were thinking about the ‘doing the right thing.’ It’s about gratitude and duty to our ancestors and respecting these Black artists. I felt honored and grateful to Smith for my excellent education and lifelong friendships. So, I gave Smith my first dibs on our entire art collection. We appreciated the consideration and time (several visits to our home and warehouses and time spent reviewing the museum’s collection to see alignments and enhancements!). The Smith College team, especially curator Emma Chubb, took a serious approach by submitting a proposal for each piece in the collection.
There were emotional, spiritual, and educational benefits that mattered. Finding a good home for our art is like an adoption. We wanted to find the best home for each artwork. Our private art collection is ready to step out into the spotlight. Despite numerous requests, we did not want to sell to private collectors or present in galleries or auctions.
We were appalled to learn that most art is only seen in private collections! Art needs to be public, to be seen! We’re thankful that visitors are seeing our art on the Northampton campus. It warms our hearts every time we hear about busloads of local school children visiting our art or special events featuring our art. We chose Smith College not only because it is my alma mater but because the campus museum is doing tremendous reparative work.
We have already gifted art to the Studio Museum of Harlem, several Smithsonian museums, and HBCUs (Historically Black Colleges and Universities). We seek to eventually donate all of our art to worthy museums and public libraries. Our primary collection includes African American, Caribbean, and African artists.When all is said and done about African Americans and our complicated history, our art will bring about understanding, positive change, and a beacon to the world.”
Sylvia Smith Lewis ’74, an independent arts consultant, journalist, and community volunteer, has long advocated for Black artists in several genres, including visual arts, literature, theater, music, dance, and film. Her dedication, alongside her husband Byron Lewis’ work through his pioneering agency, UniWorld Group, Inc., the world’s largest and oldest Black advertising agency, has provided platforms for African American artists whose work often went unrepresented and marginalized.
Since 1969, Byron’s corporate offices have served as rare art galleries for Black artists to showcase their work, ensuring that the talent and vision of Black creatives reached a broader audience. He often reflected that visiting white executives were awestruck seeing such unique and energized artwork. Byron said giving himself and his employees an inspired, creative environment that sustained them and helped motivate their pioneering and innovative work was vital.
Beverly Morgan-Welch ’74, senior deputy director of external affairs for the Museum of Modern Art in New York, who serves on both the Smith College Board of Trustees and the SCMA Visiting Committee, and is a fellow member of the Class of 1974 with Sylvia Lewis, emphasized the significance of the gift: “At this time, cultural institutions are seeking to include women and BIPOC [Black, Indigenous, and People of Color] artists in their collections and exhibitions.
“Sylvia, always an advocate for Smith and Black artists, has stepped forward to help elevate these artists and SCMA’s collection. She is strategic and generous beyond measure by gifting Smith the spectacular collection she and Byron have lovingly built over their lives. In choosing Smith as the repository for these works, she has affirmed the college’s dedication to the recognition of these artists . . . ensuring that generations of Smith students, faculty, and visitors will be exposed to their work, to learn and be inspired,” Morgan-Welch added.
SCMA director Jessica Nicoll also highlighted the importance of the Lewis and Lewis donation.
“The Smith College Museum of Art is committed to diversifying its collection, with particular attention to acquiring work by artists of color in all periods and media. This transformative gift from Sylvia and Byron Lewis deepens and expands SCMA’s representation of work by artists of African descent. Valuably, it also tells the story of visionary and activist collectors,” said Jessica Nicoll.
The Lewises’ impact extends beyond the collection itself. Their lifelong commitment to activism and cultural promotion resonates through Sylvia’s foundational role as a student in co-founding Smith’s Africana Studies Department, Black Student Alliance, and Black Alums of Smith College (BASC), which grew from her co-leadership as part of the largest class of Black women in Smith’s history. Sylvia’s dedication to Smith as a student and alumna reflects her broader vision of cultural institutions’ role in developing us as whole human beings.
The exhibition’s timing held a special significance, as Sylvia and all visiting alums had the opportunity to view the works during their 50th reunion in spring 2024. The acquisition stands as both a personal legacy and a broader cultural collaboration, elevating the work of Black artists while reinforcing Smith College’s ongoing efforts to create a more inclusive art landscape.
Emma Chubb, SCMA Curator of Contemporary Art, Sylvia S. Lewis ’74; Marea Wexler, Development Director; Aprille Gallant, SCMA Curator of Prints, Drawings, and Photographs.
An SCMA staff member admires ‘Nude’ by artist Dox Thrash from the Lewis & Lewis Collection.
Background: Our first art donations were gifts to Black colleges and the Studio Museum of Harlem. The Historically Black Colleges and Universities (HBCUs) were the first patrons of African American art. Most white American museums, colleges, art schools, and galleries routinely rejected African American artists. Until the 1960s, legal segregation was the law. African American artists were the leaders who helped our Black communities to ‘make a way out of no way.’
Living with our art is inspiring, empowering, and healing. Buying art was our way of supporting Black artists, preserving history, and maintaining community memory. We did not think of ourselves as ‘collectors’ the way that that word is used today. Living and working with activists and creative artists, we were blessed with their friendships and associations. Most of our art was acquired with love through friendships, not by gallery visits or hired consultants.
Through community activism and engagement, we loved art’s platforms for dialogue.
My husband, Byron, was among the co-founders of Studio of Museum of Harlem, along with other business and community folks. He helped pay for the first Harlem space and donated one of its first pieces of art—a work called ‘Stagger Lee’ by Frederick J. Brown—that opened the museum’s doors. Black artists like Betty Blayton and Romare Bearden and business and community leaders used their limited resources to start museums and art studios to support and train Black artists, acquire Black art, and provide professional guidance.
So, it is with great joy and pride that our gifts are helping Smith College’s museum in its mission to support Black artists. “We hope that our art gift will also contribute to wellness and healing to everyone who sees it,” said Sylvia.
The Suzannah J. Fabing Programs Fund supported this art installation
We have been very busy with art and archives activities at Narrative Network. We moved our personal art collection to new digs and co-produced major museum acquisitions, exhibitions, and programs at the Smithsonian National Museum of American History.
Narrative Network’s seasonal Auntyland Film Festival will return soon.
Meanwhile, here are some photographic highlights and excerpts from the recent Smithsonian exhibition “Ad King Extraordinaire, about Byron Lewis Sr., my beloved husband, a pioneering advertising pioneer, and civil rights activist.
“The Smithsonian’s National Museum of American History is marking the significant impact of UniWorld Group advertising founder Byron Lewis (born 1931) with the addition of materials from his pioneering career to the national collections in a New York donation ceremony Oct. 5.
Lewis founded UniWorld in 1969 to champion multicultural advertising and promote the interests of Black and Latina/o consumers. He and UniWorld took the American market by storm, creating multi-media advertisements for clients such as Mars Inc., Metro-Goldwyn-Mayer, AT&T, Stax Records, Avon, Ford Motor, Quaker Oats Company, Burger King, the U.S. Marines, and more.”
To read more, go here: https://www.si.edu/newsdesk/releases/smithsonian-adds-collections-byron-lewis-groundbreaking-advertising-entrepreneur
“Collections from groundbreaking entrepreneurs Byron Lewis and Lillian Vernon will be showcased in a new display within the landmark “American Enterprise” exhibition at the Smithsonian’s National Museum of American History beginning Oct. 17. The two stories, “Lillian Vernon, Kitchen Table Millionaire” and “Byron Lewis, Ad King Extraordinaire,” will be featured in the exhibition’s Consumer Era (1940s–1970s) section.
The exhibit will feature selected objects from across both entrepreneurs’ career trajectories, including Vernon’s original yellow Formica kitchen table and Lewis’ antique French provincial desk and chair. Her kitchen table served as a foundation for Vernon’s home business-turned-major corporation, The Lillian Vernon Corp., and Lewis ran his pioneering ad agency, UniWorld Group, from behind this desk.
“Innovations in broadcasting, advertising, postwar consumerism and an increased number of women and African Americans in the business world really begins between the 1960s and 1970s,” said Anthea M. Hartig, the museum’s Elizabeth MacMillan Director. “It is in this ‘consumer era’ that we see entrepreneurs such as Lewis’ and Vernon use their persistence, creativity and drive to launch and see their enterprises thrive.”
To learn more, go here: https://www.si.edu/newsdesk/releases/smithsonian-adds-visionary-leaders-byron-lewis-and-lillian-vernon-landmark
