Docuartist DeVon Cunningham--a Detroit Art Treasure--has Left this Vale of Tears

DeVon Cunningham and his partner Rose Johnson

Born in Tuscaloosa, Alabama on February 21, 1935, DeVon Cunningham began his art training at the tender age of eleven when he won a scholarship to the John Herron Art Institute in Indianapolis, Indiana. Part of his training was a two-week, all expenses paid seminar to study in Italy.

He continued his art training at the Detroit Center for Creative Studies and the Birmingham Bloomfield Art Center. Cunningham went on to complete a bachelor's degree from the Detroit Institute of Technology and a master's degree from Wayne State University.

While he was working as a community outreach and public relations executive for Detroit Edison, DeVon was painting. Over his long career, DeVon's paintings have appeared in many galleries including eleven one-man shows, and his work hangs in many private and public art collections. His work is digitally archived and indexed in the catalog for the National Portrait Gallery of the Smithsonian Institute.

In 1969, DeVon Cunningham achieved national recognition when he painted the mural of the Black Christ on the dome of St. Cecelia Catholic church at Livernois and Burlingame in Detroit. This work featured a twenty-four-foot, brown-skinned image of Jesus with six multiethnic angels beside him serving high mass. The church's parishioners were mostly African Americans from the neighborhood. The mural was a welcomed addition to this French Romanesque church built in 1930 before the ethnicity of the neighborhood changed.

A national controversy erupted when the mural appeared on the cover of Ebony magazine in March 1969. Twenty-five years later on December 25th, 1994, the mural once again became the topic of controversy when the New York Times featured the church mural on Christmas Day. Reverend Raymond Ellis, rector of St. Cecelia's, responded to the criticism in a Detroit Free Press interview.

"Black parishioners have a legitimate complaint when they walk into a church to worship and everything is white. Christianity forces people to accept Western European culture.

"The historical Christ was Hebrew, a Jew from the Middle East. He might have had dark skin; he might have been fair. But Christ is the head of the church, he is God, and he is any color people want him to be."

Cunningham's commissioned portraits of prominent Detroit community leaders include Martha Jean "The Queen" Steinberg, a WCHB radio personality active in Detroit's African American community; Coleman Young, the city's first black mayor; Abe Burnstein, Detroit's reputed Purple Gang boss during Prohibition; and many others.

The most mysterious portrait Cunningham has painted is of Motown founder Berry Gordy Jr. It was unveiled at Gordy's Boston-Edison mansion as a birthday present from his sister Anna Gordy Gaye--the wife of singer Marvin Gaye. Berry was quite moved and lauded the painting of him dressed up like Napoleon. Somewhere along the line, someone suggested that it might not be a compliment to be compared to Napoleon, and the painting disappeared. (More on that story appears in the link at the end of this post.)

Cunningham's portraits gave way to what he calls docuart that informs, instructs, and involves the viewer. His work combines symbolism with cultural iconography that leaves the viewer with a montage of images to ponder. DeVon's art not only appeals to the eye but also to the mind.

DeVon's jazz musician series typifies much of his later work. Historically, Detroit was instrumental in the 1920s through the 1950s for providing African American jazz and blues musicians venues to perform and make a living through their music. To document the historic relationship of Jews and African Americans, Cunningham painted legendary performers like Theolonius Monk, Louie Armstrong, Billie Holiday, and Miles Davis, who performed in Detroit's legendary nightclubs owned by Jewish impresarios who hired Black acts when other venue bookers would not.

Billie Holiday docuart

 

DeVon Cunningham has produced significant art that remains relevant in our changing times. The Spill the Honey foundation commissioned a series of paintings that emphasizes the shared legacy of Jewish people and African Americans seeking historical truth and social justice through educational and artistic programs. The theme of Cunningham's last body of work deals with the environment and the pollinators--both endangered.

Mr. Cunningham passed away at 1:00 am Monday morning, July 31st at the age of eighty-eight after complications from a prolonged illness. Only two weeks before, DeVon and Rose Johnson went to Cafe D'Mongo's in downtown Detroit for his last outing where he enjoyed meeting with some of his fans, my wife Sue and I among them.

Berry Gordy's Lost Portrait

 

The Spill the Honey Foundation and the Paintings of DeVon Cunningham

The Spill the Honey Foundation is an alliance of Jewish Americans and African Americans dedicated to using the arts to promote human dignity by advancing public awareness of the European Holocaust and American slavery. In addition, the group draws attention to contemporary social injustices and systemic oppression to advance cultural tolerance. They strive to spread dignity, goodness, and kindness among all people in a cross-generational effort to improve the DNA of the soul by countering racism and antisemitism.

This non-profit organization takes its name from the inspirational story of Eli Ayalon, a teenaged survivor of the Nazis. Forty years after maintaining his self-enforced silence after World War II, Ayalon shared the story of how his mother told him the family was going to be separated from the Warsaw Ghetto in Poland and send east to the concentration camps. She knew they would never see each another again.

Young Ayalon was allowed by the Nazis to leave the ghetto and return because he ran errands for their German oppressors. “When you leave tomorrow,” his mother told him, “never return. Never! Struggle to survive.”

His mother gave him a small, gauze-covered cup with some honey in it. “Eli,” she said, “honey sweetens the sting of hate. Close your eyes to see beyond the pain and suffering to celebrate the sweetness of life. Spill the honey.”

From this painful memory between a mother and son, Eli Ayalon went from being a survivor to becoming a messenger of hope. The Spill the Honey Foundation was inspired by the Jewish wisdom of Elizer Ayalon and the civil rights movement of Dr. Martin Luther King.

***

DeVon Cunningham and me in his art studio. [11/11/2021]

In 2018, the Spill the Honey Foundation under the direction of Dr. Sheri Rogers brought Detroit docuartist DeVon Cunningham on as art director to create a series of eighteen original paintings for display in each of the eighteen Holocaust museums nationwide.

The collection was scheduled originally for its debut at the Charles H. Wright Museum of African American History in Detroit’s Cultural Center in 2020. But due to Covid restrictions, the debut exhibition was cancelled. Mr. Cunningham is working to reschedule the exhibition while the collection is still intact.

Many of Mr. Cunningham's Spill the Honey paintings contain the melding of the Christian crucifix and the Hebrew Star of David to symbolize the underlying ties of both religious traditions. The Spill the Honey Foundation is a model to show how different communities can find common goals and work together.

The shape of the hexagon appears in several paintings as a unifying image linking the concept of the honeycomb, the bees, and the honey of the natural world to the goals of the Spill the Honey Foundation, which are to spread peace, harmony and justice, using college student ambassadors to bring the movement to young people.

Reconciling the inequities of history will not happen without bearing witness to the documented truths of the past—the good, the bad, and the ugly. I believe we owe future generations that much.

Shared Legacies trailer