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In the Black Fantastic assembles art and imagery from across the African diaspora that embraces ideas of the mythic and the speculative. Neither Afrofuturism nor Magic Realism, but inhabiting its own universe, In the Black Fantastic brings to life a cultural movement that conjures otherworldly visions out of the everyday Black experience and beyond looking at how speculative fictions in Black art and culture are boldly reimagining perspectives on race, gender, identity and the body in the 21st century. Transcending time, space and genre to span art, design, fashion architecture, film, literature and popular culture from African myth to future fantasies and beyond, this vital, timely and compelling publication is an expressive exploration of Black popular culture at its most wildly imaginative, artistically ambitious and politically urgent.
Prior to the 1960s, when African Americans had little access to formal political power, black popular culture was commonly seen as a means of forging community and effecting political change. But as Richard Iton shows, despite the changes politics, black artists have continued to play a significant role in the making of critical social spaces.
Reveals the diversity crisis in children's and young adult media as not only a lack of representation, but a lack of imagination Stories provide portals into other worlds, both real and imagined. The promise of escape draws people from all backgrounds to speculative fiction, but when people of color seek passageways into the fantastic, the doors are often barred. This problem lies not only with children’s publishing, but also with the television and film executives tasked with adapting these stories into a visual world. When characters of color do appear, they are often marginalized or subjected to violence, reinforcing for audiences that not all lives matter. The Dark Fantastic is an engaging and provocative exploration of race in popular youth and young adult speculative fiction. Grounded in her experiences as YA novelist, fanfiction writer, and scholar of education, Thomas considers four black girl protagonists from some of the most popular stories of the early 21st century: Bonnie Bennett from the CW’s The Vampire Diaries, Rue from Suzanne Collins’s The Hunger Games, Gwen from the BBC’s Merlin, and Angelina Johnson from J.K. Rowling’s Harry Potter. Analyzing their narratives and audience reactions to them reveals how these characters mirror the violence against black and brown people in our own world. In response, Thomas uncovers and builds upon a tradition of fantasy and radical imagination in Black feminism and Afrofuturism to reveal new possibilities. Through fanfiction and other modes of counter-storytelling, young people of color have reinvisioned fantastic worlds that reflect their own experiences, their own lives. As Thomas powerfully asserts, “we dark girls deserve more, because we are more.”
In Afro-Atlantic Flight Michelle D. Commander traces how post-civil rights Black American artists, intellectuals, and travelers envision literal and figurative flight back to Africa as a means by which to heal the dispossession caused by the slave trade. Through ethnographic, historical, literary, and filmic analyses, Commander shows the ways that cultural producers such as Octavia Butler, Thomas Allen Harris, and Saidiya Hartman engage with speculative thought about slavery, the spiritual realm, and Africa, thereby structuring the imaginary that propels future return flights. She goes on to examine Black Americans’ cultural heritage tourism in and migration to Ghana; Bahia, Brazil; and various sites of slavery in the US South to interrogate the ways that a cadre of actors produces “Africa” and contests master narratives. Compellingly, these material flights do not always satisfy Black Americans’ individualistic desires for homecoming and liberation, leading Commander to focus on the revolutionary possibilities inherent in psychic speculative returns and to argue for the development of a Pan-Africanist stance that works to more effectively address the contemporary resonances of slavery that exist across the Afro-Atlantic.
"A Blade So Black is the fantasy book I've been waiting for my whole life." —Angie Thomas, #1 New York Times-bestselling author of The Hate U Give For fans of Marissa Meyer, L.L. McKinney's A Blade So Black delivers an irresistible urban fantasy retelling of Alice in Wonderland... but it's not the Wonderland you remember. The first time the Nightmares came, it nearly cost Alice her life. Now she's trained to battle monstrous creatures in the dark dream realm known as Wonderland with magic weapons and hardcore fighting skills. Yet even warriors have a curfew. Life in real-world Atlanta isn't always so simple, as Alice juggles an overprotective mom, a high-maintenance best friend, and a slipping GPA. Keeping the Nightmares at bay is turning into a full-time job. But when Alice's handsome and mysterious mentor is poisoned, she has to find the antidote by venturing deeper into Wonderland than she’s ever gone before. And she'll need to use everything she's learned in both worlds to keep from losing her head... literally. Debut author L.L. McKinney delivers an action-packed twist on an old classic, full of romance and otherworldly intrigue. And don't miss the thrilling sequel, A Dream So Dark! An Imprint Book "Mixing elements of Alice in Wonderland and Buffy the Vampire Slayer... Delectable." —Entertainment Weekly
To accompany the Hayward Gallery exhibition of the same name, Booker Prize nominated writer Tom McCarthy edits a unique newspaper about the realities (and unrealities) of London. Patrick Kieller claimed in his 1994 film London that the city had disappeared, lost amongst the sprawling generations of its inhabitants.The city's consciousness has dissipated, its identity vanishing before our eyes. Just as the role of the print newspaper edges closer to the void, McCarthy seeks to explore the current, 'felt' realities of a place in a form that is on the verge of obsolescence.Going beyond the concept of definite roles and functions MIRRORCITY explores and celebrates the themes of reality, identity and the singular dimensions we all live in.A host of artists including Lindsay Seers, Ursula Mayer and Lucky PDF have contributed their texts and images on these themes within the context of the newspaper format - the results are as diverse and open-ended as the city. Contains a full-colour 'weekend style' newspaper magazine insert booklet.A unique conceptual and cerebral artist-led publication, MIRRORCITY will delight, intrigue and engage the intellectual. To accompany an exhibition at the Hayward Gallery, London, 14 October 2014 - 4 January 2015.
From his cult movie posters to his epic paleoart, celebrate the life and work of William Stout with this stunning monograph featuring the most iconic imagery from the multitalented muralist, illustrator, and designer. Muralist, illustrator, comics artist, poster designer—William Stout has created a body of work that transcends genre, medium, and industry during his astonishing forty-year career. He has designed album covers for the Who and the Rolling Stones, worked on films ranging from Ralph Bakshi’s Wizards to Guillermo del Toro’s Pan’s Labyrinth, and brought the world of the dinosaurs to life through highly acclaimed paleoart. Now Stout fans can relive the life and career of their favorite artist with this breathtaking monograph. Curated by the artist himself, Fantastic Worlds: The Art of William Stout bursts with the most iconic imagery in Stout’s oeuvre. From his student years to his robust career as a painter, illustrator, and more, Fantastic Worlds gives readers an in-depth understanding of how Stout developed as an artist, illustrated by his most inspired work. Visually stunning and definitive, Fantastic Worlds is the ultimate Stout retrospective—the perfect way for fans to commemorate the extraordinary work of a one-of-a-kind artist.
A critical study of Louise Bourgeois's art from the 1940s to the 1980s: its departure from surrealism and its dialogue with psychoanalysis.
The book that inspired the Academy Award–winning short film, from New York Times bestselling author and beloved visionary William Joyce. Morris Lessmore loved words. He loved stories. He loved books. But every story has its upsets. Everything in Morris Lessmore’s life, including his own story, is scattered to the winds. But the power of story will save the day. Stunningly brought to life by William Joyce, one of the preeminent creators in children’s literature, The Fantastic Flying Books of Mr. Morris Lessmore is a modern masterpiece, showing that in today’s world of traditional books, eBooks, and apps, it’s story that we truly celebrate—and this story, no matter how you tell it, begs to be read again and again.
Endless Enigma: Eight Centuries of Fantastic Art explores the ways in which artists have sought to explain their world in terms of an alternate reality, drawn from imagination, the subconscious, poetry, nature, myth, and religion. Endless Enigma takes as its point of departure Alfred H. Barr Jr.’s legendary 1936 exhibition at The Museum of Modern Art, New York, Fantastic Art, Dada, Surrealism, which not only introduced these movements to the American public, but also placed them in a historical and cultural context by situating them with artists from earlier centuries. Presenting works from the twelfth century to the present day, this catalogue is organized into six themes—Monsters & Demons, Dreams & Temptation, Fragmented Body, Unconscious Gesture, Super Nature, and Sense of Place. Works included range from medieval gargoyles to twentieth-century works by Louise Bourgeois, Sigmar Polke, and Pablo Picasso as well as contemporary works by Michaël Borremans, Marcel Dzama, and Raymond Pettibon. Masterworks from the likes of Piero di Cosimo, Francisco de Goya, and Titian are considered alongside those by William Blake and Odilon Redon. Time folds and temporal barriers collapse when Damiano Cappelli meets Edvard Munch, and Salvator Rosa encounters Luc Tuymans and Lisa Yuskavage. Salvador Dalí, Sherrie Levine, Giuseppe Arcimboldo, Kerry James Marshall—eight centuries intersect and, as such, this wide-ranging catalogue examines affinities in intention and imagery between works executed across a broad span of time. Organized in collaboration with Nicholas Hall, a specialist in the field of Old Masters and nineteenth-century art, this fully illustrated catalogue is published on the occasion of the eponymous exhibition at David Zwirner, New York, in 2018. It includes new scholarship by Dawn Ades, Olivier Berggruen, and J. Patrice Marandel.