It also mirrors those first lines in Can a Coal Scuttle Fly? when Tom first laid eyes on his Sandtown-Winchester neighborhood. Despite that, Miller conveyed love and compassion with his vision. A group of doctors were hoping to create a transitional housing project for families affected by AIDS but the project never launched. I asked Scott about the acrylic painting “Legacy House” and learned that Miller originally created it as a commission in the 1990s. In an effort to learn more about Miller, I reached out to Steven Scott Gallery, since they handle print sales and represent Miller’s work.
” Miller also left his home studio and proceeds from future screen print sales to Chase Brexton upon his passing. As a recurring patient at Chase Brexton, he showed the importance of the clinic through the commissioned piece “ Hope Lives Here. Miller lived with AIDS for the last decade of his life, yet he continued to paint and create with an optimistic lens. "Summer in Baltimore," color screenprint, 1994 To this day, they continue delivering fresh produce to areas to the city that might be known as food deserts. But the Arabbers were more than just a spectacle. With their bright carts, decorated horses, and musical street cries, it made sense that Miller would include the traveling Arabbers in his paintings. “Summer in Baltimore” shows people checking out fruit from an Arabber cart. Miller tapped into these vibrant, Baltimorean moments and transferred them in a collage-like fashion into his work. The people around me, the community I live in, provide a great deal.” “All of my influences are by no means artistic. “I only record what I see and feel based on my experiences as an African American living in Baltimore, Maryland, in the United States of America,” Miller shared in a press release. In 1995, Miller was the first African American artist from Baltimore to have a solo exhibit at the Baltimore Museum of Art. On the back of the book is a painting of Miller at work on his Harford Road mural. This moment references the title of the book, when a discarded coal scuttle morphs into a bird ready for flight. Throughout the story, readers learn about his mother’s proclivity to painting, his father’s work as a tailor, and Miller’s origins as an artist, scavenging for treasure in a junk pile and turning his findings into sculptures. When I peeked out from the blanket and saw the colored brick houses and rows and rows of white marbled steps, my little feet began to kick and my fists pummeled in the air with joy.” She brought me home from the hospital in a bright red baby blanket. “My mom says I liked color from the beginning. The story begins with an infant Tom coming home from the hospital. Miller illustrated this children’s book which tells a chronological story of his joyful upbringing as well as his journey on becoming an artist. I first learned about Miller through the book Can a Coal Scuttle Fly?, a biography written by Tom Miller’s friend Camay Calloway Murphy (daughter of Baltimore-born jazz musician Cab Calloway). Miller highlighted everyday scenes and landmarks through his art, as evident in his screen prints “ Maryland Crab Feast” and “The National Aquarium in Baltimore. He was born here, grew up in Sandtown-Winchester, went to Carver Vocational Technical High School, studied at MICA, taught art in Baltimore City Schools, and passed away at the Joseph Richey Hospice. To this day, his creative stream still flows throughout the city. The open pages feature a Nigerian proverb: “However far the stream flows, it never forgets its source.”īaltimore was the primary source for Miller’s inspiration. Perhaps he is on a tropical island, as a palm tree stretches up the wall and colorful birds look on nearby. On the other side of the street there is a big, black, and beautiful man sitting on a sandy beach. On one side of the road there is an expansive wall depicting “Children Playing” - a zooming bicyclist, a boy enjoying ice cream on the stoop, a toddler with beads in her hair, and white marble steps - a recurring detail in Miller’s paintings. Hopefully you’ll get a good view of two of my favorite murals in town, painted by Baltimorean Tom Miller. North Avenue and Harford Road, take a moment to look around. If you’re ever at a red light at the intersection of E.
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