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Exhibition catalogue that accompanied an exhibition at Woodmere Art Museum of the same name. Master draftsman, Roland Ayers (1932-2014) was born in the Germantown neighborhood of Philadelphia and trained at the Philadelphia College of the Arts (now University of the Arts). His unique style and iconography responded to the social and political climate of his time, while he also made reference to the broader canons of art history. Ayers's free-flowing compositions- heavily influenced by the improvisational nature of jazz-merged dreams, memories, and the landscapes of Philadelphia into fantastical images. Through his meditative artistic practice, he explored his own unconscious, which he visualized through nature, architecture, and the body. Through drawing, he explored the psychological and spiritual mysteries of life, striving to understand his own identity and the broader social world.The catalogue features essays by TK Smith, Patrick Terenchin, Rob Kohler, and Sheila Whitelaw-Ayers, a selected chronology of the artist's life and career, and selected poems by the artist.
What if I had taken that job instead of going to college? What if I had taken lessons instead of trying to teach myself? What if I had followed my dreams instead of taking the easier path? What if I had just said yes instead of letting fear define me? In a cynical world, its easy to get jaded and overlook the many small miracles that surround us every day. Each of us has our own path to create, and that journey can be what we make of it. For most peopleeven those who manage to lead successful, happy, and healthy liveslife is not the proverbial bowl of cherries. But for those who can navigate lifes highs and lows, that rare state of satisfaction can be the reward. Four people set out on their life journeys, and their individual paths cross and interconnect when the timing is right. From childhood through the many challenges to adulthood, their lives trace different but equally amazing paths. Keith is Annapolis boundbut his ambitions may carry him into a different type of service; Genevieve, a talented vocalist, is pursuing her dreams in the entertainment world. David strives for a life in the world of baseball, while Victoria has set her sights on serving her country as a politician. Through persistence and unflinching determination, each will be, in many ways, extraordinary.
This comprehensive volume features exciting and cultrually diverse serigraphs, offset lithographs, and mixed media prints from the Bradywine Workshop
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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.
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.
Examining portraits of black people over the past two centuries, Cutting a Figure argues that these images should be viewed as a distinct category of portraiture that differs significantly from depictions of people with other racial and ethnic backgrounds. The difference, Richard Powell contends, lies in the social capital that stems directly from the black subject’s power to subvert dominant racist representations by evincing such traits as self-composure, self-adornment, and self-imagining. Powell forcefully supports this argument with evidence drawn from a survey of nineteenth-century portraits, in-depth case studies of the postwar fashion model Donyale Luna and the contemporary portraitist Barkley L. Hendricks, and insightful analyses of images created since the late 1970s. Along the way, he discusses major artists—such as Frédéric Bazille, John Singer Sargent, James Van Der Zee, and David Hammons—alongside such overlooked producers of black visual culture as the Tonka and Nike corporations. Combining previously unpublished images with scrupulous archival research, Cutting a Figure illuminates the ideological nature of the genre and the centrality of race and cultural identity in understanding modern and contemporary portraiture.