Robert Cox

Artist Bio
Robert Cox is a native of Cincinnati, Ohio, who grew up in its West End community. Since childhood he loved drawing, and with the encouragement of his mother, he had the ambition of one day being an artist. He attended Cincinnati public schools, and then went on to study at the University of Cincinnati, where he earned his BFA degree-in 1981-with a studio concentration in drawing. He decided to attend UC, because his high school art teacher and mentor, Dorothy Moreland, had attended there. Besides, being the first of the family to attend college, there was no tradition to follow. While in high school he met Robert O’Neal, a professional African American artist in the city, and soon after he would meet several others, including Robert Harris and Gilbert Young. All of them proved to be an inspiration; and provided encouragement for a young Black man to pursue a career in art.

At the University of Cincinnati, there were no African American artists discussed in Robert Cox’s art classes. This experience both angered and inspired him, and set him out to conduct his own research on Black artists. His quest led him to the main branch of the Cincinnati Public Library. It was there, that he discovered several sources on African American artists. “Images of Dignity: The Drawings of Charles White,” had the greatest impact. White’s drawings had a profound effect on the young artist, as they moved him emotionally and literally brought tears to his eyes. “I had never seen Black people portrayed so beautifully, and with such ‘Dignity,’ as the book title implies,” states Cox. He was inspired and set out to produce works of equal quality and intensity. John Stewart, the one art professor at UC, who Cox respected and admired, would become his most influential instructor; he guided Cox in developing the creative and technical skills necessary to reach the level of a Charles White.

Another important influence for him was the Afro-American Studies department at the university. There he enrolled in virtually every course offered, and for the first time he began to learn positive facts about African and African American history and culture. Dr. Nancy Fairley, an anthropologist and instructor in the department, would become an inspirational teacher and friend. Dr. Fairley was the first African American Cox met, who had lived and worked in Africa. She taught him about African culture and gave him insight into African art. Equipped with a fundamental understanding of African and African American history and culture, Cox was ready to move on to the next phase of his life. Once again through the influence of Dr. Fairley, between 1982 and 1985, Cox was hired as an Adjunct Instructor in the same Afro-American Studies department, which had such an awe-inspiring affect on him. Teaching a course on Black Art, he was now able to expose students to African and African American art, culture, and history.

In 1984, Cox was accepted in Howard University’s graduate program in art history, but was unable to attend until 1985. Howard was the pinnacle of African American art. It was the only choice. At Howard, Cox studied with major African American artists and art historians. Notables, such as Dr. Jeff Donaldson and Dr.Tritobia H. Benjamin trained Cox in art history. His thesis research was conducted on the artist that inspired him most – Charles White. In 1990, Cox received his MA in Art History, with a concentration in African American.

Following his graduate studies, Cox worked as an Education Associate at the Corcoran Gallery of Art in Washington, D.C. from 1989 to 1992. This professional experience was immeasurable, as it immersed him in the world of art, and further enriched his knowledge of the subject. His knowledge of the subject is what prepared him to accept a position in the fall of 1992, in the Department of Visual and Performing Arts, at Southern University, in Baton Rouge. Robert Cox’s professional ambition was to teach at a HBCU (Historically Black Colleges and Universities). At Southern, Cox has taught art history, served as Curator of the Fine Arts Gallery, Hayden Hall, and currently teaches drawing and Understanding the Arts classes. He continues to produce and exhibit his artwork, while he shares his knowledge and passion with his students.

Artist Statement
As an artist I love drawing, and I particularly love to work with conte’ crayon; It is my medium of choice. With conte,’ I was attracted to the vibrancy of the colors and particularly the richness of the black. Black is often a dominate color in my drawings; it is the embodiment of all colors and signifies spirituality. The color white which is at the other end of the color spectrum is prominent in the drawings; it represents light and the presence of the “Creative Force.”

A signature of my conte’ crayon drawings are the addition of Kente cloth strips. By 1991, I began adding both traditional and contemporary Kente cloth strips to my works. Each drawing features two different Kente strips, reflecting the complex poly-rhythms of African aesthetics in art, music, dress, and other creative expressions. Kente cloth is traditionally hand woven, in approximately four inch wide strips, by Asante men in Ghana, West Africa. African Americans began wearing the strips as part of their dress for festive and formal occasions. This custom inspired me to add Kente strips to my drawings. Yet, rather than using the actual material, I render the Kente strips challenging my technical drawing skills, and developing a deeper appreciation for the talent it takes to weave them. I use the Kente cloth strips in my drawings the same way African Americans use them in their dress, which is to consciously connect with African aesthetics, culture, and history.

As an artist, I see myself as a “visual orator” of African and African American culture. The preservation and celebration of my culture and people is important to me. I do so, by visually documenting that which is uniquely Black. I don’t perform cosmetic surgery, I draw what I see; I want to present my people in all their natural beauty, as African American artist, Sargent Johnson proclaimed in 1935, “… I am concern with, aiming to show the natural beauty and dignity in that characteristic lip and that characteristic hair, bearing and manner; and I wish to show that beauty not so much to the White man as to the Negro himself.” I work to elevate the consciousness of the viewer while creating aesthetically pleasing works of art, and hope the viewer will come away from my work feeling informed. I see my art as a tool to educate and inspire; it is historical, cultural, and spiritual.

Robert Cox Email: robert_cox@subr.edu Digest Article Link Teacher of the week: Robert Cox, April 30, 2004 Artist Bio Robert Cox is a native of Cincinnati, Ohio, who grew up in its West End community. Since childhood he loved drawing, and with the encouragement of his mother, he had the ambition of one day being an artist. He attended Cincinnati public schools, and then went on to study at the University of Cincinnati, where he earned his BFA degree-in 1981-with a studio concentration in drawing. He decided to attend UC, because his high school art teacher and mentor, Dorothy Moreland, had attended there. Besides, being the first of the family to attend college, there was no tradition to follow. While in high school he met Robert O’Neal, a professional African American artist in the city, and soon after he would meet several others, including Robert Harris and Gilbert Young. All of them proved to be an inspiration; and provided encouragement for a young Black man to pursue a career in art. At the University of Cincinnati, there were no African American artists discussed in Robert Cox’s art classes. This experience both angered and inspired him, and set him out to conduct his own research on Black artists. His quest led him to the main branch of the Cincinnati Public Library. It was there, that he discovered several sources on African American artists. “Images of Dignity: The Drawings of Charles White,” had the greatest impact. White’s drawings had a profound effect on the young artist, as they moved him emotionally and literally brought tears to his eyes. “I had never seen Black people portrayed so beautifully, and with such ‘Dignity,’ as the book title implies,” states Cox. He was inspired and set out to produce works of equal quality and intensity. John Stewart, the one art professor at UC, who Cox respected and admired, would become his most influential instructor; he guided Cox in developing the creative and technical skills necessary to reach the level of a Charles White. Another important influence for him was the Afro-American Studies department at the university. There he enrolled in virtually every course offered, and for the first time he began to learn positive facts about African and African American history and culture. Dr. Nancy Fairley, an anthropologist and instructor in the department, would become an inspirational teacher and friend. Dr. Fairley was the first African American Cox met, who had lived and worked in Africa. She taught him about African culture and gave him insight into African art. Equipped with a fundamental understanding of African and African American history and culture, Cox was ready to move on to the next phase of his life. Once again through the influence of Dr. Fairley, between 1982 and 1985, Cox was hired as an Adjunct Instructor in the same Afro-American Studies department, which had such an awe-inspiring affect on him. Teaching a course on Black Art, he was now able to expose students to African and African American art, culture, and history. In 1984, Cox was accepted in Howard University’s graduate program in art history, but was unable to attend until 1985. Howard was the pinnacle of African American art. It was the only choice. At Howard, Cox studied with major African American artists and art historians. Notables, such as Dr. Jeff Donaldson and Dr.Tritobia H. Benjamin trained Cox in art history. His thesis research was conducted on the artist that inspired him most – Charles White. In 1990, Cox received his MA in Art History, with a concentration in African American. Following his graduate studies, Cox worked as an Education Associate at the Corcoran Gallery of Art in Washington, D.C. from 1989 to 1992. This professional experience was immeasurable, as it immersed him in the world of art, and further enriched his knowledge of the subject. His knowledge of the subject is what prepared him to accept a position in the fall of 1992, in the Department of Visual and Performing Arts, at Southern University, in Baton Rouge. Robert Cox’s professional ambition was to teach at a HBCU (Historically Black Colleges and Universities). At Southern, Cox has taught art history, served as Curator of the Fine Arts Gallery, Hayden Hall, and currently teaches drawing and Understanding the Arts classes. He continues to produce and exhibit his artwork, while he shares his knowledge and passion with his students. Artist Statement As an artist I love drawing, and I particularly love to work with conte’ crayon; It is my medium of choice. With conte,’ I was attracted to the vibrancy of the colors and particularly the richness of the black. Black is often a dominate color in my drawings; it is the embodiment of all colors and signifies spirituality. The color white which is at the other end of the color spectrum is prominent in the drawings; it represents light and the presence of the “Creative Force.” A signature of my conte’ crayon drawings are the addition of Kente cloth strips. By 1991, I began adding both traditional and contemporary Kente cloth strips to my works. Each drawing features two different Kente strips, reflecting the complex poly-rhythms of African aesthetics in art, music, dress, and other creative expressions. Kente cloth is traditionally hand woven, in approximately four inch wide strips, by Asante men in Ghana, West Africa. African Americans began wearing the strips as part of their dress for festive and formal occasions. This custom inspired me to add Kente strips to my drawings. Yet, rather than using the actual material, I render the Kente strips challenging my technical drawing skills, and developing a deeper appreciation for the talent it takes to weave them. I use the Kente cloth strips in my drawings the same way African Americans use them in their dress, which is to consciously connect with African aesthetics, culture, and history. As an artist, I see myself as a “visual orator” of African and African American culture. The preservation and celebration of my culture and people is important to me. I do so, by visually documenting that which is uniquely Black. I don’t perform cosmetic surgery, I draw what I see; I want to present my people in all their natural beauty, as African American artist, Sargent Johnson proclaimed in 1935, “… I am concern with, aiming to show the natural beauty and dignity in that characteristic lip and that characteristic hair, bearing and manner; and I wish to show that beauty not so much to the White man as to the Negro himself.” I work to elevate the consciousness of the viewer while creating aesthetically pleasing works of art, and hope the viewer will come away from my work feeling informed. I see my art as a tool to educate and inspire; it is historical, cultural, and spiritual.










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