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New Negro Artists in Paris
This book analyzes the experiences and works of six African American artists who lived and worked in Paris during the Jazz Age. More than 120 works of art are analyzed, many never before published. The author argues that it was study abroad that won these artists critical acclaim, establishing their reputations as some of the most significant leaders of the New Negro movement in the visual arts. She begins her study with a history of the debut of African American artists in Paris, 1830-1914 ...
Illustrated Sheet Music in the U.S., 1830-1930
Illustrated sheet music was one of the most democratic forms of visual imagery in the U.S., owned by millions of Americans who were wooed by compelling lithographic covers, displayed the material culture in their parlors, and performed compositions on home pianos. Advancements in printing technologies in the 19th-century, together with an emergent commercial system that facilitated the publication and broad distribution of popular music, led to a surge of elaborately illustrated sheet music. This book features essays by cutting-edge scholars who analyze the remarkable images that persuaded U.S. citizens to purchase mass-produced compositions for both personal and social pleasure. With some s...
Barthé
A celebration of the acclaimed African American modern sculptor
Deborah Grant
For the past decade, Deborah Grant has interwoven historical accounts and personal experiences with references to contemporary political issues in her ongoing series Random Select. Grant culls material from a variety of sources including magazine photographs, comic books, published texts and art historical reference books to create highly personal, nonlinear narratives that investigate politics, race and cultural identity. Grant's Christ You Know It Ain't Easy!! combines painting, drawing and collage to recount the fictional meeting between African-American folk artist Mary A. Bell and renowned modernist painter Henri Matisse. Rendered through graphic silhouettes, intricate line drawings and collaged elements, Grant's narrative provides an alternate account of the modernist
The Grove Encyclopedia of American Art
Arranged in alphabetical order, these 5 volumes encompass the history of the cultural development of America with over 2300 entries.
Gloria Stoll Karn
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The Routledge Companion to African American Art History
This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.
The Collage Aesthetic in the Harlem Renaissance
Beginning with a subtle and persuasive analysis of the cultural context, Farebrother examines collage in modernist and Harlem Renaissance figurative art and unearths the collage sensibility attendant in Franz Boas's anthropology. This strategy makes explicit the formal choices of Harlem Renaissance writers by examining them in light of African American vernacular culture and early twentieth-century discourses of anthropology, cultural nationalism and international modernism. At the same time, attention to the politics of form in such texts as Toomer's Cane, Locke's The New Negro and selected works by Hurston reveals that the production of analogies, juxtapositions, frictions and distinctions...
Potential History
A passionately urgent call for all of us to unlearn imperialism and repair the violent world we share, from one of our most compelling political theorists In this theoretical tour-de-force, renowned scholar Ariella Aïsha Azoulay calls on us to recognize the imperial foundations of knowledge and to refuse its strictures and its many violences. Azoulay argues that the institutions that make our world, from archives and museums to ideas of sovereignty and human rights to history itself, are all dependent on imperial modes of thinking. Imperialism has segmented populations into differentially governed groups, continually emphasized the possibility of progress while it tries to destroy what came...
Picturing the New Negro
Chronicles the vibrant partnership between literary and visual African American artists that resulted in the image of the New Negro. In the process, demonstrates that commercial illustration represents the largest and, in some cases, most progressive body of visual art associated with the Harlem Renaissance.
