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Visual Artists and Their Works Table

 

 

Overview

This page intends to celebrate the visual arts (primarily painting, sculpture, and photography), and bring attention to those little known artists living and dead. We have been collecting images of numerous artists for years, including those of Claire Carew and Chuck Siler. We have also paid attention to those artists who have passed recently, like Margaret Burroughs and Bernard Hoyes. Our vision is not restrained by place or ethnicity. Of course, we are interested in past trends, despite the politics or the morality of the artists, as in the case of Dada and its inventor, Salvador Dali, now quite well known as a fascist. We are especially interested in the work of black artists trained and untrained and the influence of African sculpture, and their use of those work to reorient social and political trends.

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Ralph Ellison on Bearden and African Art

First, I should tell you that although I’ve been collecting African art for a long time, I am not a Pan-Africanist. I love the art for itself. Nor am I anti-Africa. [Laughter.] No, as far as writing goes, I’ve not been influenced by Bearden, although I met him during what I believe was his first period. He was doing the heroic, mural type of painting which was developed by such artists as Diego Rivera. Later, I was to have many talks with him, and over the years, I always found him stimulating and conscious of where he was going.

As a serious artist in his own field, Bearden still affirms and strengthens me in my own work. . .  . concerning the influence of one artist upon another, I’d say that it frequently takes other forms than that of copying or trying to do what another artist or writer does in his precise manner. That is mere imitation.

But, sometimes, by working in his chosen form, a fellow artist can affirm one’s own effort and give you the courage to struggle with the problems of your medium.

So, in that light, you might say that Bearden influenced me. Just by knowing him at a time when we were both working hard and without much recognition, I found strength for my own efforts. He had faith in the importance of artistic creation, and I learned something about the nature of painting from listening to his discussions of his craft. Look around, and you’ll see that I own a number of his works.

So, as I see it, it’s not the imitation of an artist’s work, or even his endorsement of your talent, that’s of basic importance, but this assertion of artistic ideals, and the example of his drive to achieve excellence.

But, then I’ve found a similar affirmation in the examples of football players, jazz musicians—who for me are the most important—tap dancer, and even a few bootleggers [Laughter]. Such people attract me with a certain elegance and flair for style, as have certain preachers and teachers.

I never attended anything but segregated schools, from first grade through graduation, and yet certain fine teachers inspired me to do the best I had in me. Being angry over segregation, it took me a while to realize that despite a handful of indifferent teachers, I also had a few that were excellent, people who still inspire me.

Source: The Essential Ellison (Interview)—Ishmael Reed, Quincy Troupe, Steve Cannon. Ishmael Reed’s and Al Young’s Y’Bird • Copyright © 1977, 1978 Y’Bird Magazine

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Modern art has borrowed heavily from Negro sculpture. This form of African art has been done hundreds of years ago by primitive people. It was unearthed by archaeologists and brought to the continent. During the past twenty-five years it has enjoyed a deserved recognition among art lovers. Artists have been amazed at the fine surface qualities of the sculpture, the vitality of the work, and the unsurpassed ability of the artists to create such significant forms. Of great importance has been the fact that the African would distort his figures, if by doing so he could achieve a more expressive form. This is one of the cardinal principles of the modern artist.

It is interesting to contrast the bold way in which the African sculptor approached his work, with the timidity of the Negro artist today. His work is at best hackneyed and uninspired, and only mere rehashing from the work of any artist that might have influenced him. They have looked at nothing with their own eyesseemingly content to use borrowed forms. They have evolved nothing original or native like the spiritual or jazz music.Romare Bearden, "Negro Artist and Modern Art"

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Maritain scorns the idea of art for art's sake: "It does not mean art for the work, which is the right formula. It means an absurdity, that is, a supposed necessity for the artist to be only an artist, not a man, and for art to cut itself off from its own supplies, and from all the food, fuel, and energy it receives from human life."Jacques Maritain, "Responsibility of the Artist"

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On the poop deck of slave galleys it is possible, at any time and place, as we know, to sing of the constellations while the convicts bend over the oars and exhaust themselves in the hold; it is always possible to record the social conversation that takes place on the benches of the amphitheater while the lion is crunching the victim. And it is very hard to make any objections to the art that has known such success in the past. But things have changed somewhat, and the number of convicts and martyrs has increased amazingly over the surface of the globe. In the face of so much suffering., if art insists on being a luxury, it will also be a lie.Albert Camus, "Create Dangerously"

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40 Of The Most Powerful Photographs Ever Taken

A moving collection of iconic photographs from the last 100 years that demonstrate the heartbreak of loss, the tremendous power of loyalty, and the triumph of the human spirit posted by Jack Shepherd

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 Racism: A History, the 2007 BBC 3-part documentary explores the impact of racism on a global scale. It was part of the season of programs on the BBC marking the 200th anniversary of the abolition of slavery in the British Empire. It's divided into 3 parts.

The first, The Colour of Money . . . Racism: A History [2007]—1/3

Begins the series by assessing the implications of the relationship between Europe, Africa and the Americas in the 15th century. It considers how racist ideas and practices developed in key religious and secular institutions, and how they showed up in writings by European philosophers Aristotle and Immanuel Kant.

The second, Fatal Impact . . . Racism: A History [2007] - 2/3

Examines the idea of scientific racism, an ideology invented during the 19th century that drew on now discredited practices such as phrenology and provided an ideological justification for racism and slavery. The episode shows how these theories ultimately led to eugenics and Nazi racial policies of the master race.

And the 3rd, A Savage Legacy . . .  Racism: A History [2007] - 3/3

Examines the impact of racism in the 20th century. By 1900 European colonial expansion had reached deep into the heart of Africa. Under the rule of King Leopold II, the Belgian Congo was turned into a vast rubber plantation. Men, women and children who failed to gather their latex quotas would have their limbs dismembered. The country became the scene of one of the century's greatest racial genocides, as an estimated 10 million Africans perished under colonial rule.

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Table

 

Art Contest & Exhibition (Digital Printing Online)

About Romare Bearden  (painter)

Claire Carew (painter)

The Crossings (Jenai)

Do Cowboys Dance? (Jenai)

Frederick Douglass and the Progress of Photography (Wells; Fried)

Dennison Bertram, Fashion Photographer

Murry N. DePillars

Julian Dimock (photographer)

Kimathi Donkor (painter)

Eighty Moods of Maya (Redmond)

Fourth World Art

Giving Voice Through Art (Carew)

Holguin Siempre Adelante (Carew)

Homage to Frida Kahlo (Carew)

Nestor Hernandez (photographer)

Nestor Hernandez 1960- 2006 (obituary)

Bernard Hoyes (painter)

Images and Homages: "Memwars" (Redmond)

Bev Jenai  (painter)

Margaret Burroughs DuSable Museum (obituary)

Robert "Kaki" McQueen  (painter)

Jane Musoke-Nteyafas (painter)

The Negro Artist and Modern Art (Bearden)

The Painting: "My Friend Yictove” (Jenai)

J. Nash Porter (photographer)

Eugene Redmond (photographer)

The Responsibility of the Artist (Maritain)

John Scott (painter)

Chuck Siler (caricaturist)

Sitting ducks at the superdome (Carew)

Jerry Taliaferro (photographer)

My Thoughts on International Women’s Day (Carew)

Spring Ulmer (photographer)

Carrie Mae Weems (photographer)

The Willie Harris Collection (photographer)

Ernest Withers (photographer)

 

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 "Djimbe Danse"  Artwork by Chuck Siler

Related Files

ChickenBones Black Arts and Black Power Figures

Civil Rights: Struggle for Black Power

Documentary about Fred Mutebi’s artwork

Faith Ringgold, artist  (video)

Jacob Lawrence: The Migration Series (video)

Literature and Arts

The Negro Artist and the Racial Mountain

Painting "Duke Ellington" by Tatyana Fazlalizadeh

Quilting the Black Eyed Pea (McInnis)

Race Prejudice and the Negro Artist 

Richard Wright's Seven Photos 

Towards a Black Aesthetic

Tribute to Artist Jacob Lawrence

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Claire Carew : Artist   

The Artist as Social Activist   / Homage to Frida Kahlo

 Sitting ducks at the superdome    

Giving Voice Through Art 

 Holguin  Looking forward

From Birmingham Alabama to Qana Lebanon 

The Negro Artist and Modern Art  (Romare Bearden) 

 

Painting Image Above: Section of  Queen Candace: Diamond Quilt, 2002 acrylic on canvas, "40 x 30"
Collection of Hampton University Museum

Artist’s statement—(Murry N. DePillars)—My approach to painting has been influenced by the six aesthetic priorities of early African American quilt makers, and their concept of building rather than sewing a quilt.  The six aesthetic priorities of these early quilt markers are: (1) vertical strip organization; (2) bold or high keyed colors accented by lower keyed or earth tones; (3) repeated or varied large design elements, motifs influenced by African and European symbols; (4) asymmetrical designs; (5) multiple or rhythmic patterning; and (6) improvisation. These aesthetic priorities and building quilts influenced me to adopt a flat geometric approach to building paintings. 

In my paintings, repeated patterns in a standardized repeated grid system from top to bottom and side to side form the foundational design.  At varying intervals, overlays of opaque and transparent flat motifs are painted or built upon these foundational designs.  This creates two or three layers of smaller geometric designs.  These smaller muted and multi-colored patterns alter the directional axis of the foundational design.murrydepillars

 

Black Panther: The Revolutionary Art of Emory Douglas The Black Panther Party for Self Defense, formed in the aftermath of the assassination of Malcolm X in 1965, remains one of the most controversial movements of the 20th-century. Founded by the charismatic Huey P. Newton and Bobby Seale, the party sounded a defiant cry for an end to the institutionalized subjugation of African Americans.

The Black Panther newspaper was founded to articulate the party's message and artist Emory Douglas became the paper's art director and later the party's Minister of Culture.

Douglas's artistic talents and experience proved a powerful combination: his striking collages of photographs and his own drawings combined to create some of the era's most iconic images, like that of Newton with his signature beret and large gun set against a background of a blood-red star, which could be found blanketing neighborhoods during the 12 years the paper existed. This landmark book brings together a remarkable lineup of party insiders who detail the crafting of the party's visual identity. Publisher Rizzoli

Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and action. He maintained poor people’s dignity while graphically illustrating harsh situations.Wikipedia

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Artwork by Margaret Burroughs

Left:

The Birthday Party,

Linoleum Cut

 

 

Right:

Mother and Child

 

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Yo Mama’s Last Supper

The racialized, Eurocentric homo-gendered iconography of Catholicism automatically coerces someone existing outside of that spectrum to naturally experience isolation and distancing. This is especially probable for a Black girl child who wondered why nowhere in the Catholic Cathedrals where she genuflected, did she see an image of God in the form of sculpture, oil painting, or stain glass window that looked anything remotely like herself.

What happens then, when that same little Black girl, with Jamaican roots and upper-middle class upbringing, interacts with those negating images? She grows up into a Black woman, or most notably, a “rude gyal” with an attitude, who would thirty-something years later unabashedly confront that iconography, in the form of a series entitled Yo Mama. Although according to Genesis 1:26, God created (wo)man in the image of Him(her)self, nowhere in Christian texts could be found a brown skin God with the face of a girl child from the Diaspora. That is not until Renee Cox decided to photograph herself nude as Jesus surrounded by 12 fully-clothed male disciples, all of them Black with the exception of Judas, who was white, and titled the 5-paneled piece Yo Mama’s Last Supper.

My first time actually seeing Yo Mama’s Last Supper in person was a week ago during a visit to Renee Cox’s uptown studio in Harlem, New York—arcthemagazine

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Crying children, including nine-year-old Kim Phuc, center, run down Route 1 near Trang Bang, Vietnam. Photograph: Nick Ut/AP

Girl from AP's Vietnam napalm photo finds peace with her role in history— 2 June 2012—In the picture, the girl will always be 9 years old and wailing "Too hot! Too hot!" as she runs down the road away from her burning Vietnamese village. She will always be naked after blobs of sticky napalm melted through her clothes and layers of skin like jellied lava. She will always be a victim without a name. It only took a second for Associated Press photographer Huynh Cong "Nick" Ut to snap the iconic black-and-white image 40 years ago. It communicated the horrors of the Vietnam war in a way words could never describe, helping to end one of the most divisive wars in American history.

But beneath the photo lies a lesser-known story. It's the tale of a dying child brought together by chance with a young photographer. A moment captured in the chaos of war that would be both her savior and her curse on a journey to understand life's plan for her. "I really wanted to escape from that little girl," says Kim Phuc, now 49. "But it seems to me that the picture didn't let me go." It was June 8, 1972, when Phuc heard the soldier's scream: "We have to run out of this place! They will bomb here, and we will be dead!"

Seconds later, she saw the tails of yellow and purple smoke bombs curling around the Cao Dai temple where her family had sheltered for three days, as north and south Vietnamese forces fought for control of their village. The little girl heard a roar overhead and twisted her neck to look up. As the South Vietnamese Skyraider plane grew fatter and louder, it swooped down toward her, dropping canisters like tumbling eggs flipping end over end.—guardian

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Kimathi Donkor, painter, was born and educated in Britain, has family roots in Jamaica and England as well as among the Akan people of Ghana and Poland's Jews. He attained his bachelor’s degree in Fine Art at Goldsmith’s College, London, where he also gained a post-graduate art teaching qualification. After showing work alongside the likes of Donald Rodney, Chila Burman, Keith Piper and Pitika Ntuli, and then a year teaching art, Kimathi withdrew from exhibiting.

He spent several years working in publishing and as a human-rights campaigner. He has also travelled in Africa, the Middle East, Latin America, Asia, Europe and the Caribbean.In 2003 he was invited to exhibit the painting 'Charles and Sanite Belair', in the group show 'The Jamaican Influence', thereby relaunching his exhibiting career.

In November 2004 Kimathi held his first major solo exhibition when London gallery owner Bettie Morton invited him to celebrate the 200th anniversary of Haiti's independence in a show of monumental history paintings entitled 'Caribbean Passion: Haiti 1804'.   Fourth World Art

The Mask of Art: Breaking the Aesthetic Contract - Film and Literature  (Clyde R. Taylor)

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2012 Art Contest and Exhibition

Sponsored by Digital Printing Online

Melvin W. Clark "Coltrane"First Place Winner $500.00

Jerry Prettyman "Goddesses"Second Place Winner $250.00

Belle Massey "Mirror Heritage"Third Place  Winner $125.00

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Abstractionist Eugene R. Coles in an Exhibition Titled “Fragments”—During the early years of Abstract Expressionism in post-World War II America, gifted trailblazers like Hale Woodruff, Norman Lewis and Harlan Jackson demonstrated—contrary to the opinions of certain scholars and critics—that artists of color could indeed use abstraction in art as a viable means for conveying the depths of human intelligence and emotion. Although they may not have received the recognition that they deserve during their careers, their displays of courage, commitment and artistic integrity have continued to inspire succeeding generations of artists—including many of the second- and third generation abstract artists who follow. . . .

A native of New York, graduate of Morgan State University’s fine arts program, Eugene R. Coles also gained formal training earning three certificates in painting, education and design from the internationally recognized Ecole des Beaux Fountainebleau, located southeast of Paris. During his career, which spans more than four decades, Coles has presented his work in numerous exhibitions. His work is also featured in two books, including Samella Lewis’ reference volume Art African American and Artists. Additionally, Coles has completed three album covers for saxophonist Gary Barts; spoken word poet Gil Scott Heron; and singer Edwin Birdsong.eubieblake

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Amiri Baraka & Kellie Jones

Curator Kellie Jones and her father—renowned poet, playwright, and activist Amiri Baraka—discuss their collaboration on Jones's book EyeMinded: Living and Writing Contemporary Art, which investigates various perspectives on art making throughout different generations. Jones is associate professor in the Department of Art History and Archaeology at Columbia University. Her writings have appeared in NKA, Artforum, Flash Art, Atlantica, Third Text, and numerous catalogues. Baraka is the author of more than 40 books of essays, poems, drama, and music history and criticism. The former Poet Laureate of New Jersey, he has received numerous honors including fellowships from the Guggenheim Foundation and the National Endowment of the Arts, the PEN/Faulkner Award, and an Obie Award for his play Dutchman (1963).

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Eyeminded: Living and Writing Contemporary Art

By Kellie Jones

A daughter of the poets Hettie Jones and Amiri Baraka, Kellie Jones grew up immersed in a world of artists, musicians, and writers in Manhattan’s East Village and absorbed in black nationalist ideas about art, politics, and social justice across the river in Newark. The activist vision of art and culture that she learned in those two communities, and especially from her family, has shaped her life and work as an art critic and curator. Featuring selections of her writings from the past twenty years, EyeMinded reveals Jones’s role in bringing attention to the work of African American, African, Latin American, and women artists who have challenged established art practices. Interviews that she conducted with the painter Howardena Pindell, the installation and performance artist David Hammons, and the Cuban sculptor Kcho appear along with pieces on the photographers Dawoud Bey, Lorna Simpson, and Pat Ward Williams; the sculptor Martin Puryear; the assemblage artist Betye Saar; and the painters Jean-Michel Basquiat, Norman Lewis, and Al Loving. Reflecting Jones’s curatorial sensibility, this collection is structured as a dialogue between her writings and works by her parents, her sister Lisa Jones, and her husband Guthrie P. Ramsey Jr. EyeMinded offers a glimpse into the family conversation that has shaped and sustained Jones, insight into the development of her critical and curatorial vision, and a survey of some of the most important figures in contemporary art.

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AALBC.com's 25 Best Selling Books


 

Fiction

#1 - Justify My Thug by Wahida Clark
#2 - Flyy Girl by Omar Tyree
#3 - Head Bangers: An APF Sexcapade by Zane
#4 - Life Is Short But Wide by J. California Cooper
#5 - Stackin' Paper 2 Genesis' Payback by Joy King
#6 - Thug Lovin' (Thug 4) by Wahida Clark
#7 - When I Get Where I'm Going by Cheryl Robinson
#8 - Casting the First Stone by Kimberla Lawson Roby
#9 - The Sex Chronicles: Shattering the Myth by Zane

#10 - Covenant: A Thriller  by Brandon Massey

#11 - Diary Of A Street Diva  by Ashley and JaQuavis

#12 - Don't Ever Tell  by Brandon Massey

#13 - For colored girls who have considered suicide  by Ntozake Shange

#14 - For the Love of Money : A Novel by Omar Tyree

#15 - Homemade Loves  by J. California Cooper

#16 - The Future Has a Past: Stories by J. California Cooper

#17 - Player Haters by Carl Weber

#18 - Purple Panties: An Eroticanoir.com Anthology by Sidney Molare

#19 - Stackin' Paper by Joy King

#20 - Children of the Street: An Inspector Darko Dawson Mystery by Kwei Quartey

#21 - The Upper Room by Mary Monroe

#22 – Thug Matrimony  by Wahida Clark

#23 - Thugs And The Women Who Love Them by Wahida Clark

#24 - Married Men by Carl Weber

#25 - I Dreamt I Was in Heaven - The Rampage of the Rufus Buck Gang by Leonce Gaiter

Non-fiction

#1 - Malcolm X: A Life of Reinvention by Manning Marable
#2 - Confessions of a Video Vixen by Karrine Steffans
#3 - Dear G-Spot: Straight Talk About Sex and Love by Zane
#4 - Letters to a Young Brother: MANifest Your Destiny by Hill Harper
#5 - Peace from Broken Pieces: How to Get Through What You're Going Through by Iyanla Vanzant
#6 - Selected Writings and Speeches of Marcus Garvey by Marcus Garvey
#7 - The Ebony Cookbook: A Date with a Dish by Freda DeKnight
#8 - The Isis Papers: The Keys to the Colors by Frances Cress Welsing
#9 - The Mis-Education of the Negro by Carter Godwin Woodson

#10 - John Henrik Clarke and the Power of Africana History  by Ahati N. N. Toure

#11 - Fail Up: 20 Lessons on Building Success from Failure by Tavis Smiley

#12 -The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander

#13 - The Black Male Handbook: A Blueprint for Life by Kevin Powell

#14 - The Other Wes Moore: One Name, Two Fates by Wes Moore

#15 - Why Men Fear Marriage: The Surprising Truth Behind Why So Many Men Can't Commit  by RM Johnson

#16 - Black Titan: A.G. Gaston and the Making of a Black American Millionaire by Carol Jenkins

#17 - Brainwashed: Challenging the Myth of Black Inferiority by Tom Burrell

#18 - A New Earth: Awakening to Your Life's Purpose by Eckhart Tolle

#19 - John Oliver Killens: A Life of Black Literary Activism by Keith Gilyard

#20 - Alain L. Locke: The Biography of a Philosopher by Leonard Harris

#21 - Age Ain't Nothing but a Number: Black Women Explore Midlife by Carleen Brice

#22 - 2012 Guide to Literary Agents by Chuck Sambuchino
#23 - Chicken Soup for the Prisoner's Soul by Tom Lagana
#24 - 101 Things Every Boy/Young Man of Color Should Know by LaMarr Darnell Shields

#25 - Beyond the Black Lady: Sexuality and the New African American Middle Class  by Lisa B. Thompson

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Black Panther: The Revolutionary Art of Emory Douglas The Black Panther Party for Self Defense, formed in the aftermath of the assassination of Malcolm X in 1965, remains one of the most controversial movements of the 20th-century. Founded by the charismatic Huey P. Newton and Bobby Seale, the party sounded a defiant cry for an end to the institutionalized subjugation of African Americans. The Black Panther newspaper was founded to articulate the party's message and artist Emory Douglas became the paper's art director and later the party's Minister of Culture.

Douglas's artistic talents and experience proved a powerful combination: his striking collages of photographs and his own drawings combined to create some of the era's most iconic images, like that of Newton with his signature beret and large gun set against a background of a blood-red star, which could be found blanketing neighborhoods during the 12 years the paper existed. This landmark book brings together a remarkable lineup of party insiders who detail the crafting of the party's visual identity. Publisher Rizzoli

Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and action. He maintained poor people’s dignity while graphically illustrating harsh situations.Wikipedia

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A History of African-American Artists

From 1792 to the Present

By Romare Bearden and Harry Henderson

The late Romare Bearden, a premier African American artist in his own right, devoted 15 years to researching and writing this magnificent study of the lives and achievements of 36 significant African American artists born prior to 1925. He and longtime friend and coauthor Henderson were motivated by frustration over the lack of literature on black artists. Through great perseverance and determination, they managed to track down forgotten artwork, piece together vivid biographical portraits, and conduct interviews with surviving artists, who, in spite of their stature and longevity, had never before been interviewed. As Bearden and Henderson set the scene, historically speaking, for such artists as Robert S. Duncanson, Edmonia Lewiss, and Henry Ossawa Tanner, they expose the degree to which racism limited opportunities for black artists. The life stories of the artists associated with the Black Renaissance during the 1920s—such as Aaron Douglas; Archibald Motley, the first painter to boldly celebrate urban African American society; and sculptor and influential mentor Augusta Savage—are recorded with consummate insight, as are accounts of the giants of the Depression era, Beauford Delaney and Jacob Lawrence.

 Richly illustrated and written with resounding empathy and pride, this is a major contribution to the literature on African American history and to the annals of American art.Booklist 

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The Shameful Life of Salvador Dali

By Ian Gibson

In his detailed and excellent book on Salvador Dali, Ian Gibson has documented Dali’s identification with fascism in Spain from the very beginning. During the civil war, Dali never came out in support of the Republic.  He did not collaborate, for example, in the Paris Fair in 1937, where Picasso presented his Guernica, aimed at raising funds for the Republican cause.  And he soon made explicit his sympathies for the fascist coup of 1936 and for the dictatorship that it established in a letter to Buñuel, a well-known filmmaker in Spain. 

He made explicit and known his admiration for the figure and writing of the founder of the Spanish fascist party (La Falange), José Antonio Primo de Rivera, and used in his speeches and writings the fascist narrative and expressions (such as the fascist call “Arriba España”), referring to the special role Spain had in promoting the imperial dreams over other nations.  He sympathized with the anti-Semitic views of Hitler and celebrated Franco’s alliance with Hitler and Mussolini against France, Great Britain and the United States.  

 He also welcomed the “solution to the national problem” in vogue in Nazi and fascist circles at that time.Dali became the major defender of the Franco dictatorship in the artistic world.  He was also, as Spanish fascism was, very close to the Church and to the Vatican of Pope Pius XII, indicating that modern art needed to be based on Christianity.  His loyalty to the fascist dictatorship continued to the very end, defending the state terrorist policies that included political assassinations, even in the last moments of that dictatorship.—counterpunch

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African American Art and Artists

By Samella Lewis, Introduction by Mary Jane Hewitt

This book belongs on the art reference shelf of every major library. A revised and updated edition of the 1978 work Art: African American, it presents short biographies and illustrations of the work of 176 artists of African descent working in the United States from the Revolution to the present. The strongest section covers artists, almost all of them painters, working from 1865 to 1960. Descriptions of artists after 1960 are a jumble of thoughtful three-page essays and uninformative three-sentence citations. Because this scholarly but readable work will be the starting point for so much research, the lack of annotations in the bibliography and the overall variability in the quality of citations is a major disappointment. Despite these flaws, this will be the book to reach for when African American art reference questions arise. Recommended for fine arts collections.—Library Journal

An absolute must for any art-lover interested in the subject matter. With this publication the professor emerita of art history provides a comprehensive overview of the work of Afro-American artists from the eighteenth century up to the present day. . . . Lewis found the material for her publication in public and private collections from all over the United States.—Artium

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Pictures and Progress

Early Photography and the Making of African American Identity

Edited by Maurice O. Wallace and Shawn Michelle Smith

Pictures and Progress explores how, during the nineteenth century and the early twentieth, prominent African American intellectuals and activists understood photography's power to shape perceptions about race and employed the new medium in their quest for social and political justice. They sought both to counter widely circulating racist imagery and to use self-representation as a means of empowerment. In this collection of essays, scholars from various disciplines consider figures including Frederick Douglass, Sojourner Truth, Ida B. Wells, Paul Laurence Dunbar, and W. E. B. Du Bois as important and innovative theorists and practitioners of photography. In addition, brief interpretive essays, or "snapshots," highlight and analyze the work of four early African American photographers. Featuring more than seventy images, Pictures and Progress brings to light the wide-ranging practices of early African American photography, as well as the effects of photography on racialized thinking. Douglass and the Progress of Photography

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Now Dig This! Art and Black Los Angeles, 1960-1980

By Kellie Jones

The pioneering work of a group of black artists is documented in this companion volume to a groundbreaking exhibition. This comprehensive, lavishly illustrated catalogue offers the first in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works, some of which were previously considered lost. Now Dig This! will feature artists including Melvin Edwards, Fred Eversley, David Hammons, Maren Hassinger, Senga Nengudi, John Outterbridge, Alonzo Davis, Dale Brockman Davis, Noah Purifoy, Betye Saar, and Charles White, connecting their work to larger movements, trends, and ideas that fueled the arts during this important era of creative, cultural, and political ferment. The publication also explores the significant network of friendships and collaborations made across racial lines, while underscoring the influence that African American artists had on the era's larger movements and trends. Now Dig This! Art and Black Los Angeles, 1960-1980 is part of Pacific Standard Time, an initiative of the Getty.

Energy / Experimentation: Black Artists and Abstraction, 1964-1980 (Kellie Jones)

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The White Masters of the World

From The World and Africa, 1965

By W. E. B. Du Bois

W. E. B. Du Bois’ Arraignment and Indictment of White Civilization (Fletcher)

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Ancient African Nations

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The Death of Emmett Till by Bob Dylan  The Lonesome Death of Hattie Carroll  Only a Pawn in Their Game

Rev. Jesse Lee Peterson Thanks America for Slavery / George Jackson  / Hurricane Carter

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The Journal of Negro History issues at Project Gutenberg

The Haitian Declaration of Independence 1804  / January 1, 1804 -- The Founding of Haiti 

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ChickenBones Store (Books, DVDs, Music, and more)

 

 

 

 

 

 

 

posted 2 June 2012

 

 

 

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