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Something All Our Own
Grant Hill and experts celebrate and examine the creative expression of African American art and artists.
San Francisco Lithographer
Grafton Tyler Brown—whose heritage was likely one-eighth African American—finessed his way through San Francisco society by passing for white. Working in an environment hostile to African American achievement, Brown became a successful commercial artist and businessman in the rough-and-tumble gold rush era and the years after the Civil War. Best known for his bird’s-eye cityscapes, he also produced and published maps, charts, and business documents, and he illustrated books, sheet music, advertisements, and labels for cans and other packaging. This biography by a distinguished California historian gives an underappreciated artist and his work recognition long overdue. Focusing on Graft...
Artists on the Left
Examination of the relation between visual artists and the American communist movement in the first half of the twentieth century, from the rise in prestige of the party during the Great Depression to its decline in the 1950s. Account of how left-wing artists responded to the party's various policy shifts: the communist party exerted a powerful force in American culture.
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The Hearing Eye
The widespread presence of jazz and blues in African American visual art has long been overlooked. The Hearing Eye makes the case for recognizing the music's importance, both as formal template and as explicit subject matter. Moving on from the use of iconic musical figures and motifs in Harlem Renaissance art, this groundbreaking collection explores the more allusive - and elusive - references to jazz and blues in a wide range of mostly contemporary visual artists. There are scholarly essays on the painters Rose Piper (Graham Lock), Norman Lewis (Sara Wood), Bob Thompson (Richard H. King), Romare Bearden (Robert G. O'Meally, Johannes Völz) and Jean-Michel Basquiat (Robert Farris Thompson),...
The Cambridge Companion to the Black Body in American Literature
Whether invisible or hyper-visible, adored or reviled, from the inception of American literature the Black body has been rendered in myriad forms. This volume tracks and uncovers the Black body as a persistent presence and absence in American literature. It provides an invaluable guide for teachers and students interested in literary and artistic representations of Blackness and embodiment. The book is divided into three sections that highlight Black embodiment through conceptual flashpoints that emphasize various aspects of human body in its visual and textual manifestations. This Companion engages past and continuing debates about the nature of embodiment by showcasing how writers from multiple eras and communities defined and challenged the limits of what constitutes a body in relation to human and nonhuman environment.
Rhapsodies in Black
Published to accompany exhibition held at the Hayward Gallery, London, 19/6 - 17/8 1997.
