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Offers a comprehensive index of prints during this prolific and experimental period in printmaking, providing complete information on published visual images of American prints during the period as well as biocritical information on printmakers. Useful for artists, students, teachers, and researchers of art history and American intellectual history. Bryce is a reference librarian/associate professor and fine arts selector at the University of Alabama Libraries. Annotation copyrighted by Book News, Inc., Portland, OR
Examination of the relation between visual artists and the American communist movement in the first half of the twentieth century, from the rise in prestige of the party during the Great Depression to its decline in the 1950s. Account of how left-wing artists responded to the party's various policy shifts: the communist party exerted a powerful force in American culture.
Elizabeth Catlett, born in Washington, DC, in 1915, is widely acknowledged as a major presence in African American art, and her work is celebrated as a visually eloquent expression of African American identity and pride in cultural heritage. But this is not the whole story. She has lived in Mexico for 50 years, as a citizen of that country since 1962, and she and her husband, artist Francisco Mora, have raised their children there. For 20 years she was a member of the Taller de Gráfica Popular (Popular Graphic Arts Workshop) and she was the first woman professor of sculpture at the Universidad Nacional Autónoma de México. Her extraordinary career has stretched from her years as a student at Howard University during the 1930s through various political and social movements--including the Chicago Renaissance of the 1940s, the Black Power and Black Arts movements, the Mexican Public Art Movement, and feminism--which have informed her art. This richly illustrated and informative monograph is the first to document the full range of Catlett's life and work. In addition to thoroughly researching primary source materials and to critiquing individual art works with sensitivity and erudition, the author has conducted numerous interviews with Catlett and has analyzed with clarity the political context of her work and her diverse sympathies and allegiances. Herzog examines key artistic influences and shows how Catlett transformed an extraordinary stylistic vocabulary into a socially charged statement. In tracing Catlett's long and continuing career as a graphic artist and sculptor in Mexico, Herzog explores an important period in Catlett's life between the 1950s and the 1970s about which almost nothing is known in the United States. She examines the "Mexicanness" in Catlett's work in its fluent relationship to the underlying and constant sense of African American identity she brought with her to Mexico. Herzog's solidly grounded interpretation offers a new way to understand Catlett's work and reveals this artist as a fascinating and pivotal intercultural figure whose powerful art manifests her firm belief that the visual arts can play a role in the construction of a meaningful identity, both transnational and ethnically grounded. Melanie Anne Herzogis associate professor of art history at Edgewood College in Madison, Wisconsin.
Numerous American women artists built successful professional careers in the mid-twentieth century while confronting challenging cultural transitions: shifts in stylistic avant-gardism, harsh political transformations, and changing gender expectations for both women and men. These social and political upheavals provoked complex intellectual and aesthetic tensions. Critical discourses about style and expressive value were also renegotiated, while still privileging masculinist concepts of aesthetic authenticity. In these contexts, women artists developed their careers by adopting innovative approaches to contemporary subjects, techniques, and media. However, while a few women working during these decades have gained significant recognition, many others are still consigned to historical obscurity. The essays in this volume take varied approaches to revising this historical silence. Two focus on evidence of gender biases in several exhibitions and contemporary critical writings; the rest discuss individual artists' complex relationships to mainstream developments, with attention to gender and political biases, cultural innovations, and the influence of racial/ethnic diversity. Several also explore new interpretative directions to open alternative possibilities for evaluating women's aesthetic and formal choices. Through its complex, nuanced approach to issues of gender and female agency, this volume offers valuable and exciting new scholarship in twentieth-century American art history and feminist studies.