Reflecting On Michael Ellison’s Artistic Legacy By Traci Mims
Reflecting on Michael Ellison’s artistic legacy by Traci Mims
Barflys by Michael Ellison
I was recently invited to view the work of fellow artist Michael Ellison, to offer my perspective as a printmaker and arts educator with a similar artistic background. Both Ellison and I have engaged extensively in color reduction relief printing, particularly woodcuts, affording me a deep familiarity with the intricacies of this process. Like myself, Ellison was also an educator with a Master of Fine Arts degree in printmaking. However, despite my ability to interpret and articulate the content and technical aspects of his printmaking, I feel that words alone cannot fully capture its brilliance; his work truly needs to be experienced firsthand to be fully appreciated.
Observing Michael Ellison’s printmaking is akin to attending a masterclass in both the technical and conceptual realms of the art form. His creations are mesmerizing—visually captivating and technically masterful. They immediately draw viewers into harmonious cultural narratives, reflecting profound cultural sensitivity and a deep understanding of formalism. Ellison adeptly applies these principles to dynamic, intuitive compositions of figures and backgrounds.
Ellison’s portrayals of bar scenes, social gatherings, and urban street life—characterized by elongated figures and distorted imagery—echo the works of artists influenced by Cubism and their social environments, such as Jacob Lawrence and Archibald Motley. As I examined his woodcuts, I was reminded of Jacob Lawrence’s series of 15 serigraphs depicting the life of Haitian general Toussaint Louverture, particularly due to the artists skill, stylistic use of shapes, and the vitality of the figures. Notably, Ellison credited African American artist Wilmer Jennings as a significant influence, evident in their shared subject matter—church gatherings, dancing figures, and bustling scenes with distorted perspectives. He also drew inspiration from French artist Henri de Toulouse-Lautrec, known for his depictions of nightlife and bar scenes. While these influences are apparent, the body of work Ellison produced in his brief 48 years establishes him as a formidable master printmaker in his own right.
At The Moulin Rouge by Henri de Toulouse-Latrec
Many of Ellison’s works are reductive color prints utilizing relief techniques such as woodcut and linocut; he was also a skilled lithographer. Reduction printing involves creating a multi colored image from a single relief block. The artist begins by drawing the image on the block and prints one color at a time, carving away portions of the surface between each printing run. Ellison’s unique approach involved layering colors to achieve a rich, textural quality reminiscent of painting.
Lithography, conversely, is a planographic printmaking process where the image is printed from a flat surface, typically a metal plate or stone. This technique is particularly challenging due to its complex chemistry. The process starts with the artist drawing the image onto the surface using a greasy crayon. The surface is then treated with chemicals to set the image and make the non image areas water-repellent. When dampened and inked, the ink adheres only to the greasy areas, allowing the image to be transferred onto paper.
Cathedral by Michael Ellison
Notable examples of Ellison’s work include the color reduction woodcut prints is a masterful depiction of church culture within the Black community, capturing a congregation deeply engaged in worship. Rendered in an animated, colorful, geometric, and semi-abstract style, the figures appear in motion against a distorted, angular perspective beneath a towering cathedral ceiling. Heavy shapes anchor the composition, focusing the viewer’s attention on the activity below. This piece exemplifies Ellison’s skillful use of design elements to create dynamic compositions that immerse the viewer. There is a clear connection to Wilmer Jennings’ influence, especially his work titled De Good Book Says (circa 1935), which portrays a similar crowded church scene with stained glass windows and a dynamic congregation.
In contrast, Barflys explores a different aspect of social interaction, depicting bar patrons in a setting characterized by asymmetrical perspective and a semi-neutral color palette. The rich surface texture enhances its depth and atmosphere. While the figures are abstracted and distorted, each maintains distinct individuality. Through meticulous placement and attention to details such as hairstyles and accessories, Ellison imbues his subjects with personality and relatability, rendering the scene both stylized and authentic. This work also reflects the influence of Toulouse-Lautrec’s painting At the Moulin Rouge, which features a similar semi-neutral palette and asymmetrical arrangement of patrons with non-local color on their faces.
In reflecting on Michael Ellison’s own artistic legacy, it is very evident that his work transcends mere visual representation, offering profound insights into the African American experience. His mastery of printmaking processes, particularly color reduction relief printing, allowed him to craft narratives that demonstrate rich cultural significance and technical prowess. Ellison’s ability to draw inspiration from artists like Wilmer Jennings and Henri de Toulouse-Lautrec, while infusing his unique perspective has resulted in a body of work that is both historically rooted and innovatively distinct. The works he has left behind, not only showcase his technical skill but also his deep commitment to portraying the vibrancy and complexity of urban life. Ellison’s contributions have undoubtedly solidified his place as a significant figure in the history of American printmaking, leaving an indelible mark that will undoubtedly continue to inspire and educate future generations.
Michael Ellison, Mickey Dees, 1987, woodcut. Photograph by Reis Birdwhistell. ©Michael Ellison.
MICHAEL ELLISON (1952 - 2001) was born in New York City in 1952, but is known as a Georgian artist. He received his BFA from the Atlanta College of Art under the GI Bill, where he learned printmaking. He earned his MFA in visual arts from Georgia State University in 1983.
Traci Mims, a native of St. Petersburg, Florida, currently lives and works in the Atlanta, Georgia, area. She is a formally trained visual artist, holding a Bachelor of Arts from Florida A&M University and a Master of Fine Arts from the Tyler School of Art at Temple University. An award-winning artist, her work has been exhibited internationally and is included in the collections of major corporations and museums across the United States. 
