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Robert Williams: The Father of Exponential Imagination is a comprehensive career spanning, comprehensive collection of the iconic painter’s fine art, including every one of his remarkable oil paintings along with a presentation of his drawings, sculptures, and works in other media. Simply put, this is the art book of the decade, and the book that Williams has been working toward his entire career. In the late 20th and early 21st century, diverse forms of commonplace and popular art appeared to be coalescing into a formidable faction of new painted realism. The new school of imagery was a product of art that didn’t fit comfortably into the accepted definition of fine art. It embraced some of the figurative graphics that formal art academia tended to reject: comic books, movie posters, trading cards, surfer art, hot rod illustration, to mention a few. This alternative art movement found its most apt participant in one of America’s most controversial underground artists, the painter, Robert Williams. It was this artist who brought the term “lowbrow” into the fine arts lexicon, with his groundbreaking 1979 book, The Lowbrow Art of Robt. Williams. Williams pursued a career as a fine arts painter years before joining the art studio of Ed “Big Daddy” Roth in the mid-1960s. From this position he moved into the rebellious, anti-war circles of early underground comix, as one of the celebrated ZAP cartoonists. Featuring an introductory essay by Coagula Art Journal founder Mat Gleason along with a new art manifesto and foreword by Williams himself, as well as tons of rare photos and ephemera.
This book, the first one featuring the amazing artwork of Robert Williams, has been unavailable for many years. The book contains an overview of Williams's early work until 1979. It features images from t-shirt designs, comics, posters and oil paintings.
This book tells the remarkable story of Robert F. Williams--one of the most influential black activists of the generation that toppled Jim Crow and forever altered the arc of American history. In the late 1950s, as president of the Monroe, North Carolina, branch of the NAACP, Williams and his followers used machine guns, dynamite, and Molotov cocktails to confront Klan terrorists. Advocating "armed self-reliance" by blacks, Williams challenged not only white supremacists but also Martin Luther King Jr. and the civil rights establishment. Forced to flee during the 1960s to Cuba--where he broadcast "Radio Free Dixie," a program of black politics and music that could be heard as far away as Los Angeles and New York City--and then China, Williams remained a controversial figure for the rest of his life. Historians have customarily portrayed the civil rights movement as a nonviolent call on America's conscience--and the subsequent rise of Black Power as a violent repudiation of the civil rights dream. But Radio Free Dixie reveals that both movements grew out of the same soil, confronted the same predicaments, and reflected the same quest for African American freedom. As Robert Williams's story demonstrates, independent black political action, black cultural pride, and armed self-reliance operated in the South in tension and in tandem with legal efforts and nonviolent protest.
Exploring the history of contemporary legal thought on the rights and status of the West's colonized indigenous tribal peoples, Williams here traces the development of the themes that justified and impelled Spanish, English, and American conquests of the New World.
Robert A. Williams Jr. boldly exposes the ongoing legal force of the racist language directed at Indians in American society. Fueled by well-known negative racial stereotypes of Indian savagery and cultural inferiority, this language, Williams contends, has functioned “like a loaded weapon” in the Supreme Court’s Indian law decisions. Beginning with Chief Justice John Marshall’s foundational opinions in the early nineteenth century and continuing today in the judgments of the Rehnquist Court, Williams shows how undeniably racist language and precedent are still used in Indian law to justify the denial of important rights of property, self-government, and cultural survival to Indians. Building on the insights of Malcolm X, Thurgood Marshall, and Frantz Fanon, Williams argues that racist language has been employed by the courts to legalize a uniquely American form of racial dictatorship over Indian tribes by the U.S. government. Williams concludes with a revolutionary proposal for reimagining the rights of American Indians in international law, as well as strategies for compelling the current Supreme Court to confront the racist origins of Indian law and for challenging bigoted ways of talking, thinking, and writing about American Indians. Robert A. Williams Jr. is professor of law and American Indian studies at the James E. Rogers College of Law, University of Arizona. A member of the Lumbee Indian Tribe, he is author of The American Indian in Western Legal Thought: The Discourses of Conquest and coauthor of Federal Indian Law.
Presents an intellectual history of the West's bias against tribalism that explains how acts of war and dispossession have been justified in the name of civilization and have typically victimized tribal groups.
A southern black community's struggle to defend itself against racist groups.
This readable yet sophisticated survey of treaty-making between Native and European Americans before 1800, recovers a deeper understanding of how Indians tried to forge a new society with whites on the multicultural frontiers of North America-an understanding that may enlighten our own task of protecting Native American rights and imagining racial justice.
The first openly gay man to be ordained an Episcopal priest offers lesbians and gays good news about being Christian and homosexual, discussing the positive images of homosexuality in the scriptures and more.
The police were involved over the trouble. They had to be. 'I was just playing,' I told them, but that wasn't enough. They wanted to know what I understood by 'intent'.Donald Bailey is sixteen. He can't forget the trouble that happened when he was eight, when the police were called. His mother can't forget either and even leaving their home town doesn't help. Then Donald befriends Jake, who is eight years old and terrifyingly vulnerable. As he tries to protect him, Donald fails to see the most obvious danger. And that the trouble might be closer thanhe thinks...Following Robert Williams's prize-winning debut Luke and Jon, How the Trouble Started is a dark, gripping novel about childhood, morality and the loneliness of children and adults. Told with Robert Williams's characteristic warmth, humanity and deceptively light touch, it is a story about how our best and worst intentions can lead us astray, and the moments we can never leave behind.