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Published on the occasion of an exhibition of the same name held at Tate Modern, London, July 12-October 22, 2017; Crystal Bridges Museum of American Art, Bentonville, Arkansas, February 3-April 23, 2018; and Brooklyn Museum, New York, September 7, 2018-February 3, 2019.
In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more complicated than overcoming past exclusions.
Foreword and acknowledgments / Kevin Sharp -- Black artists in America : From the Great Depression to Civil Rights -- Augusta Savage in Paris : African themes and the Black female body -- Walter Augustus Simon : abstract expressionist, art educator, and art historian -- Catalogue of the exhibition.
Drawing from historical and private collections around the country, Samella Lewis has gathered an impressive representation of the work of African American artists, from the 18th century to the present. For this edition she has provided a new chapter on art of the last decade. Handsomely and generously illustrated, this book reveals a rich legacy of work by African American painters, sculptors, and graphic artists. "Art historical scholarship is greatly advanced by Samella Lewis's African American Art and Artists in that it foregrounds the work of artists who have been influencing the texture of art in the United States during the last two decades of the 20th century. Throughout African American Art and Artists, Lewis interrogates the issue of identity by presenting the biographical sketch, which locates the individual artistic personality within a specific cultural background with its own peculiar dynamics, giving a face to two cities of Black American art. Without polemics Lewis presents women artists--Edmonia Lewis to Allison Saar--as principal players in constructing an African American visual arts legacy. Here Lewis sufficiently defines the visual arts in order that they may assume their rightful place alongside African American music, literature and folklore as cultural expressions that have helped to give American culture its distinct character."--from the foreword by Floyd Coleman, Harvard University.
Dedicated to the work of contemporary Black artists from around the world, this book is an exuberant introduction to artists from Africa and of African descent for young readers. Written by award-winning Black children’s author Sharna Jackson, this engaging book introduces young readers to twenty-six contemporary artists from Africa and of the African diaspora, working in everything from painting, sculpture, and drawing to ceramics, installation art, and sound art. These include prominent American artists Kerry James Marshall, Faith Ringgold, portraitist to Michelle Obama Amy Sherald, and Kehinde Wiley; British Turner Prize–winning painters Lubaina Himid and Chris Ofili; renowned South African visual activist and photographer Zanele Muholi; Nigerian sound artist Emeka Ogboh; Sudanese painter Kamala Ibrahim Ishaq; Kenyan-British ceramicist Magdalene Odundo; Afrofuturist-inspired performance artist Harold Offeh; and moving image artist Larry Achiampong, among others. Sharna Jackson’s experience as an award-winning children’s author combined with the curatorial expertise of Dr. Zoe´ Whitley, co-curator of the groundbreaking exhibition “Soul of a Nation: Art in the Age of Black Power,” make this an essential introduction to Black artists working today. This volume will serve as revelation to a new generation of aspiring young artists.
From 1968 to 1972, St. Louis was home to the Black Artists' Group (BAG), a seminal arts collective that nurtured African American experimentalists involved with theater, visual arts, dance, poetry, and jazz. Inspired by the reinvigorated black cultural nationalism of the 1960s, artistic collectives had sprung up around the country in a diffuse outgrowth known as the Black Arts Movement. These impulses resonated with BAG's founders, who sought to raise black consciousness and explore the far reaches of interdisciplinary performance--all while struggling to carve out a place within the context of St. Louis history and culture.A generation of innovative artists--Julius Hemphill, Oliver Lake, and Emilio Cruz, to name but a few--created a moment of intense and vibrant cultural life in an abandoned industrial building on Washington Avenue, surrounded by the evisceration that typified that decade's "urban crisis." The 1960s upsurge in political art blurred the lines between political involvement and artistic production, and debates over civil rights, black nationalism, and the role of the arts in political and cultural struggles all found form in BAG. This book narrates the group's development against the backdrop of St. Louis spaces and institutions, examines the work of its major artists, and follows its musicians to Paris and on to New York, where they played a dominant role in Lower Manhattan's 1970s "loft jazz" scene. By fusing social concern and artistic innovation, the group significantly reshaped the St. Louis and, by extension, the American arts landscape.
In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists’ desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color’s special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture’s preoccupation with color.
The 94 African American photographers whose works appear in this volume, have used their equipment as tools of social commentary and personal and artistic exploration, bearing witness to the changes in American society over the past 50 years.
The Joyner/Giuffrida Collection of Abstract Art is widely recognized as one of the most significant collections of modern and contemporary work by artists of the African diaspora and from the continent of Africa itself. 'Four Generations: The Joyner/Giuffrida Collection of Abstract Art' draws upon the collection's unparalleled holdings to explore the critical contributions made by black artists to the evolution of visual art in the 20th and 21st centuries.0This revised and expanded edition updates 'Four Generations' with several new texts and nearly 100 images of works that have been added to the collection since the initial publication of this influential and widely praised book. Lavishly illustrated and featuring important contributions by leading art historians, critics, and curators, Four Generations gives an essential overview of some of the most notable artists and movements of the past century, with an emphasis on black artists and their approaches to abstraction in its various forms.0Filled with countless insights and visual treasures, 'Four Generations' is a journey through the momentous legacy of postwar art of the African diaspora.