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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.
Something All Our Own
Grant Hill and experts celebrate and examine the creative expression of African American art and artists.
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.
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...
Notes from a Child's Odyssey
Catalog of an exhibition held at the Museum of Fine Arts, Houston, March 6-July 4, 2005.
Changing Perspectives
Changing Perspectives charts the pivotal period in Houston’s history when Jewish and Black leadership eventually came together to work for positive change. This is a story of two communities, both of which struggled to claim the rights and privileges they desired. Previous scholars of Southern Jewish history have argued that Black-Jewish relations did not exist in the South. However, during the 1930s to the 1980s, Jews and Blacks in Houston interacted in diverse and oftentimes surprising ways. For example, Houston’s Jewish leaders and eventually Black political leaders forged a connection that blossomed into the creation of the Mickey Leland Kibbutzim Internship in Israel for disadvantag...
Crossovers
Ranging across genres from the popular to the scholarly, this selection of John Szwed's published essays abides in the intersection of race and art, jazz and rap: crossovers inside and outside the academy. With reviews written for the Village Voice and articles from academic journals, this volume includes essays, commentary, and meditations on James Agee and Walker Evans, Cuban folklorist Lydia Cabrera, Lafcadio Hearn, Melville Herskovits, Josef Skorvecky, Patrick Chamoiseau, pop song writer Ellie Greenwich, and jazz musicians Sonny Rollins, Anthony Braxton, Sun Ra, and Ornette Coleman. Also included are pieces on the prehistory of hip hop, the blues, popular dance instruction songs, tap dance, and African American set dancing; creole writing and creolization; race and culture; and authenticity, representation, nostalgia, and obscenity in American popular culture, with excursions into jazz in Africa, Russia, and Argentina. Written about a country with cultural crossroads everywhere, where the question of race is thoroughly woven into the fabric of society, these essays cross boundaries and shed light on the complexities of American life.
The Black Art Renaissance
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over ...
