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Charles Alston
A visionary artist and an influential teacher, Charles Alston (1907?1977) helped establish the Works Progress Administration's Harlem Art Workshop and was the first African American to be named a supervisor for the WPA's Federal Art Project. Alston's early studies of African sculpture influenced the appearance of the human figure in all of his work, and his experience as an American of African descent led him to express through his painting ?the injustice, the indignity, and the hypocrisy suffered by black citizens.' Alston was the first African American instructor at both the Art Students League of New York and the Museum of Modern Art and was a professor of painting at the City University of New York. Determined to assist artists who would follow in his footsteps, he cofounded Spiral, a renowned black artists? alliance. Alston's work is in the permanent collections of many prestigious institutions, including the Metropolitan Museum of Art, the Whitney Museum of American Art, and the Butler Institute of American Art.
The Possessive Investment in Whiteness
In this unflinching look at white supremacy, George Lipsitz argues that racism is a matter of interests as well as attitudes, a problem of property as well as pigment. Above and beyond personal prejudice, whiteness is a structured advantage that produces unfair gains and unearned rewards for whites while imposing impediments to asset accumulation, employment, housing, and health care for minorities. Reaching beyond the black/white binary, Lipsitz shows how whiteness works in respect to Asian Americans, Latinos, and Native Americans.Lipsitz delineates the weaknesses embedded in civil rights laws, the racial dimensions of economic restructuring and deindustrialization, and the effects of envir...
Collecting African American Art
"Celebrating an important aspect of cultural history, this book showcases the institutional and private efforts to collect, document, and preserve African American art in Houston during the 20th and 21st centuries"--Provided by publisher.
Something All Our Own
Grant Hill and experts celebrate and examine the creative expression of African American art and artists.
Notes from a Child's Odyssey
Catalog of an exhibition held at the Museum of Fine Arts, Houston, March 6-July 4, 2005.
The Routledge Companion to African Diaspora Art History
This is an authoritative companion that is global in scope, recognizing the presence of African Diaspora artists across the world. It is a bold and broad reframing of this neglected branch of art history, challenging dominant presumptions about the field. Diaspora pertains to the global scattering or dispersal of, in this instance, African peoples, as well as their patterns of movement from the mid twentieth century onwards. Chapters in this book emphasize the importance of cross-fertilization, interconnectedness, and intersectionality in the framing of African Diaspora art history. The book stresses the complexities of artists born within, or living and working within, the African continent...
Ebony
EBONY is the flagship magazine of Johnson Publishing. Founded in 1945 by John H. Johnson, it still maintains the highest global circulation of any African American-focused magazine.
Self-Taught, Outsider and Folk Art
Much has changed in the world of self-taught art since the millennium. Many of the recognized "masters" have died and new artists have emerged. Many galleries have closed but few new ones have opened, as artists and dealers increasingly sell through websites and social media. The growth and popularity of auction houses have altered the relationship between artists and collectors. In its third edition, this book provides updated information on artists, galleries, museums, auctions, organizations and publications for both experienced and aspiring collectors of self-taught, outsider and folk art. Gallery and museum entries are organized geographically and alphabetically by state and city.
Interrogating the Visual Culture of Trumpism
Bringing together scholars from art history, visual studies, and related disciplines, this edited volume asks why Trumpism looks the way it does and what that look means for American—and global—society. Grouped into six categories, the essays in this volume tackle some of the most perplexing—and urgent—aspects of the Trumpist visual project. Two of the most striking aspects of that project are its use of novel commodity forms, including the iconic red baseball caps, as well as its embrace of social media. Trump’s outlandish persona and striking physicality have lent themselves to caricature both from his critics and, perhaps more surprisingly, his supporters. That physicality—as ...
