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This groundbreaking study explores the visual representations of Black culture across the globe throughout the twentieth century and into the twenty-first. The African diaspora—a direct result of the transatlantic slave trade and Western colonialism—has generated a wide array of artistic achievements, from blues and reggae to the paintings of the pioneering American artist Henry Ossawa Tanner and the music videos of Solange. This study concentrates on how these works, often created during times of major social upheaval and transformation, use Black culture both as a subject and as context. From musings on “the souls of black folk” in late-nineteenth-century art to questions of racial and cultural identities in performance, media, and computer-assisted arts in the twenty-first century, this book examines the philosophical and social forces that have shaped Black presence in modern and contemporary visual culture. Renowned art historian Richard J. Powell presents Black art drawn from across the African diaspora, with examples from the Americas, the Caribbean, and Europe. Black Art features artworks executed in a broad range of media, including film, photography, performance art, conceptual art, advertising, and sculpture. Now updated and expanded, this new edition helps to better understand how the first two decades of the twenty-first century have been a transformative moment in which previous assumptions about race and identity have been irrevocably altered, with art providing a useful lens through which to think about these compelling issues.
African-American Art: A Visual and Cultural History offers a current and comprehensive history that contextualizes black artists within the framework of American art as a whole. The first chronological survey covering all art forms from colonial times to the present to publish in over a decade, it explores issues of racial identity and representation in artistic expression, while also emphasizing aesthetics and visual analysis to help students develop an understanding and appreciation of African-American art that is informed but not entirely defined by racial identity. Through a carefully selected collection of creative works and accompanying analyses, the text also addresses crucial gaps in the scholarly literature, incorporating women artists from the beginning and including coverage of photography, crafts, and architecture in the nineteenth and twentieth centuries as well as twenty-first century developments. All in all, African American Art: A Visual and Cultural History offers a fresh and compelling look at the great variety of artistic expression found in the African-American community. Visit www.oup.com/us/farrington for additional support material, including chapter outlines, study questions, links to artists' sites, and other resources to help students succeed.
Caribbean Art presents and discusses the diverse, fascinating and highly accomplished work of Caribbean artists, whether indigenous or from the diaspora, popular or high culture, rural or urban based, politically radical or religious. This expanded edition has a new preface, and has been updated to reflect on recent challenges to the ideological premises and institutions of conventional art-historical practice and their connections to histories of colonialism, Eurocentricity and race. Two new chapters focus on public monuments linked to the history of the Caribbean, and the intersections between art and tourism, raising important questions about cultural representation. Featuring the work of internationally recognized artists such as Sonia Boyce, Christopher Cozier, Wifredo Lam, Ana Mendieta, Ebony G. Patterson, Hervé Télémaque, and more than 100 others working across a variety of media, this new edition makes an important contribution to the understanding of Caribbean art and its context, in ways that invite and encourage further explorations on the subject.
As both an activist and the dynamic editor of Negro Digest, Hoyt W. Fuller stood at the nexus of the Black Arts Movement and the broader black cultural politics of his time. Jonathan Fenderson uses historical snapshots of Fuller's life and achievements to rethink the period and establish Fuller's important role in laying the foundation for the movement. In telling Fuller's story, Fenderson provides provocative new insights into the movement's international dimensions, the ways the movement took shape at the local level, the impact of race and other factors, and the challenges--corporate, political, and personal--that Fuller and others faced in trying to build black institutions. An innovative study that approaches the movement from a historical perspective, Building the Black Arts Movement is a much-needed reassessment of the trajectory of African American culture over two explosive decades.
In this comprehensive history, Ashley D. Farmer examines black women's political, social, and cultural engagement with Black Power ideals and organizations. Complicating the assumption that sexism relegated black women to the margins of the movement, Farmer demonstrates how female activists fought for more inclusive understandings of Black Power and social justice by developing new ideas about black womanhood. This compelling book shows how the new tropes of womanhood that they created--the "Militant Black Domestic," the "Revolutionary Black Woman," and the "Third World Woman," for instance--spurred debate among activists over the importance of women and gender to Black Power organizing, causing many of the era's organizations and leaders to critique patriarchy and support gender equality. Making use of a vast and untapped array of black women's artwork, political cartoons, manifestos, and political essays that they produced as members of groups such as the Black Panther Party and the Congress of African People, Farmer reveals how black women activists reimagined black womanhood, challenged sexism, and redefined the meaning of race, gender, and identity in American life.
A second edition of the classic introduction to arts in social movements, fully updated and now including Black Lives Matter, Occupy Wall Street, and new digital and social media forms of cultural resistance The Art of Protest, first published in 2006, was hailed as an “essential” introduction to progressive social movements in the United States and praised for its “fluid writing style” and “well-informed and insightful” contribution (Choice Magazine). Now thoroughly revised and updated, this new edition of T. V. Reed’s acclaimed work offers engaging accounts of ten key progressive movements in postwar America, from the African American struggle for civil rights beginning in the 1950s to Occupy Wall Street and Black Lives Matter in the twenty-first century. Reed focuses on the artistic activities of these movements as a lively way to frame progressive social change and its cultural legacies: civil rights freedom songs, the street drama of the Black Panthers, revolutionary murals of the Chicano movement, poetry in women’s movements, the American Indian Movement’s use of film and video, anti-apartheid rock music, ACT UP’s visual art, digital arts in #Occupy, Black Lives Matter rap videos, and more. Through the kaleidoscopic lens of artistic expression, Reed reveals how activism profoundly shapes popular cultural forms. For students and scholars of social change and those seeking to counter reactionary efforts to turn back the clock on social equality and justice, the new edition of The Art of Protest will be both informative and inspiring.
"Art and the City" explores the contentious relationship between civic politics and visual culture in Los Angeles. Struggles between civic leaders and modernist artists to define civic identity and control public space highlight the significance of the arts as a site of political contest in the twentieth century.
A kaleidoscopic survey of black satire in 20th- and 21st-century American art In this groundbreaking study, Richard J. Powell investigates the visual forms of satire produced by black artists in 20th- and 21st-century America. Underscoring the historical use of visual satire as antiracist dissent and introspective critique, Powell argues that it has a distinctly African American lineage. Taking on some of the most controversial works of the past century—in all their complexity, humor, and provocation—Powell raises important questions about the social power of art. Expansive in both historical reach and breadth of media presented, Going There interweaves discussions of such works as the midcentury cartoons of Ollie Harrington, the installations of Kara Walker, the paintings of Robert Colescott, and the movies of Spike Lee. Other artists featured in the book include David Hammons, Arthur Jafa, Beverly McIver, Howardena Pindell, Betye Saar, and Carrie Mae Weems. Thoroughly researched and rich in context, Going There is essential reading in the history of satire, racial politics, and contemporary art.
Emerging from a matrix of Old Left, black nationalist, and bohemian ideologies and institutions, African American artists and intellectuals in the 1960s coalesced to form the Black Arts Movement, the cultural wing of the Black Power Movement. In this comprehensive analysis, James Smethurst examines the formation of the Black Arts Movement and demonstrates how it deeply influenced the production and reception of literature and art in the United States through its negotiations of the ideological climate of the Cold War, decolonization, and the civil rights movement. Taking a regional approach, Smethurst examines local expressions of the nascent Black Arts Movement, a movement distinctive in its geographical reach and diversity, while always keeping the frame of the larger movement in view. The Black Arts Movement, he argues, fundamentally changed American attitudes about the relationship between popular culture and "high" art and dramatically transformed the landscape of public funding for the arts.
This volume brings together a broad range of key writings from the Black Arts Movement of the 1960s and 1970s, among the most significant cultural movements in American history. The aesthetic counterpart of the Black Power movement, it burst onto the scene in the form of artists' circles, writers' workshops, drama groups, dance troupes, new publishing ventures, bookstores, and cultural centers and had a presence in practically every community and college campus with an appreciable African American population. Black Arts activists extended its reach even further through magazines such as Ebony and Jet, on television shows such as Soul! and Like It Is, and on radio programs. Many of the movement's leading artists, including Ed Bullins, Nikki Giovanni, Woodie King, Haki Madhubuti, Sonia Sanchez, Askia Touré, and Val Gray Ward remain artistically productive today. Its influence can also be seen in the work of later artists, from the writers Toni Morrison, John Edgar Wideman, and August Wilson to actors Avery Brooks, Danny Glover, and Samuel L. Jackson, to hip hop artists Mos Def, Talib Kweli, and Chuck D. SOS -- Calling All Black People includes works of fiction, poetry, and drama in addition to critical writings on issues of politics, aesthetics, and gender. It covers topics ranging from the legacy of Malcolm X and the impact of John Coltrane's jazz to the tenets of the Black Panther Party and the music of Motown. The editors have provided a substantial introduction outlining the nature, history, and legacy of the Black Arts Movement as well as the principles by which the anthology was assembled.