possibly unfinished, includes a church, cemetery, arms that morph into a street, importance of education, progression of life and Christian motifs - no damage
similar style to #44, textured bodies, everything is fluid and in motion, yin and yang on top and opening on bottom - heavy damage (left of staircase when walking up stairs
three black female figures, flowers and picnic blanket, city scene and car, old woman in headwrap (ancestor?), curtains around opening of stair window - no damage
Tiger Walk in front Sterling Student Life Center, use of bright colors, there are trees with fraternity and sorority symbols painted on them, Greek life mascots - water damage
Washington’s mural shows a timeline of Black education from left to right. On the left side of the mural, he depicts slavery and lynching above enslaved people secretly reading. In the center, girls write “Emancipation Proclamation;” next, Booker T. Washington delivers his "Atlanta Compromise" speech. The right shows emerging Black professionals.
McCowan’s mural portrays the brutality of war in the mid-twentieth century. Cold War-era themes of scientific and technological competition and atomic weapon fears appear. Inspired by Dr. Biggers’ philosophy of mural painting, McCowan integrates the wall’s architectural elements (a fire hose and extinguisher) to highlight the tension of the scene.
Hatter’s mural shows a full church choir of men, women, and children singing passionately. Hatter chose this location for his mural to make use of the arching shape of the doorway, similar to the arrangement of a choir standing on risers. The white panel in the middle is where the exit sign once was located; Hatter used it as a lamp in the design.
McNeil’s mural depicts Christian themes. Christian iconography of the cross, lamb, wine, and dove appear in the composition. The design subverts classical Christian art by inserting everyday Black people in stained-glass style, instead of highly stylized, white saints. McNeil took pride in painting the first cross in Hannah Hall.
Cleinmann's mural reflects the past, present, and future, with an emphasis on the importance of Black women. This is a manifestation of Dr. Biggers’ teachings. This mural is one of few unfinished murals left standing in Hannah Hall; typically, unfinished murals would be painted over to allow another student to decorate the wall.
A group shot of the panel participants for Poetry Reading V of the Phillis Wheatley Poetry Festival. Jackson State's Institute for the Study of History, Life, and Culture of Black People (now known as the Margaret Walker Center) sponsored a festival celebrating the bicentennial publication of Phillis Wheatley's book, Poems on Various Subjects, Religious and Moral 1773.
Across two panels, separated by a mural, Oliver’s mural uses crosshatched, dark green hues to depict a woman and child (together) and a man (separate). Almost all art students painted only one mural; Oliver was an exception. Because of his enthusiasm and talent, he painted several murals, often using small spaces between other students’ works.
Ross' mural captures a snapshot of Black rural life in the twentieth century. Outside, two men are ranching, while others play checkers on the porch. Inside, one woman is cooking in the kitchen while another cares for a child in bed. The composition also highlights the gendered division of labor, and how women’s work is often pushed to the margins.
Across two panels, separated by a mural, Oliver’s mural uses crosshatched, dark green hues to depict a woman and child (together) and a man (separate). Almost all art students painted only one mural; Oliver was an exception. Because of his enthusiasm and talent, he painted several murals, often using small spaces between other students’ works.
