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Full Download pdf of (eBook PDF) African-American Art: A Visual and Cultural History all chapter
Full Download pdf of (eBook PDF) African-American Art: A Visual and Cultural History all chapter
Full Download pdf of (eBook PDF) African-American Art: A Visual and Cultural History all chapter
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CONTENTS
Preface xvii
Acknowledgments xxvii
Summary 11
Key Terms 11
Questions for Further Study and Discussion 12
Summary 27
Key Terms 27
Questions for Further Study and Discussion 29
vii
Woodwork 33
Early Masters 33
Federal-Era Craftsmen 35
Civil War–Era Craftsmen 37
Thomas Day 37
Henry Gudgell 38
Ceramics 40
“Dave the Potter” (Dave Drake) 41
Thomas Commeraw 43
Metalwork 44
Peter Bentzon 45
Textile and Clothing Design 46
Early Quilt Making and Makers 46
Harriet Powers 48
Elizabeth Hobbs Keckley 50
Summary 53
Key Terms 53
Questions for Further Study and Discussion 55
Summary 78
Key Terms 79
Questions for Further Study and Discussion 80
Summary 112
Key Terms 112
Questions for Further Study and Discussion 114
Painting 128
William Edouard Scott 128
Palmer Hayden 130
Archibald Motley, Jr. 132
Malvin Gray Johnson 133
Aaron Douglas 134
William H. Johnson 135
Lois Mailou Jones 137
Photography and Printmaking 139
James Van Der Zee 139
James Latimer Allen 142
James Lesesne Wells 143
King Daniel Ganaway 144
Other African-American Photographers 146
Summary 146
Key Terms 147
Questions for Further Study and Discussion 149
Summary 213
Key Terms 213
Questions for Further Study and Discussion 214
Summary 242
Key Terms 242
Questions for Further Study and Discussion 243
Summary 276
Key Terms 276
Questions for Further Study and Discussion 277
Summary 297
Key Terms 298
Questions for Further Study and Discussion 298
12 POSTMODERNISM 301
Post-Minimalism 301
Fred Eversley 301
Lorenzo Pace 303
Martin Puryear 304
Conceptual Art 306
Howardena Pindell 306
Pat Ward Williams 307
Glenn Ligon 309
Intermedia Art 309
Houston Conwill 310
Terry Adkins 312
Lorraine O’Grady 314
Adrian Piper 315
Renée Green 317
Summary 335
Key Terms 336
Questions for Further Study and Discussion 336
IV CONTEMPORARY TRENDS
13 NEO-EXPRESSIONISM, THE NEW ABSTRACTION,
AND ARCHITECTURE 339
Neo-Expressionism 339
Robert Colescott 340
Joyce J. Scott 341
Michael Ray Charles 342
Kara Walker 343
Kerry James Marshall 345
Jean-Michel Basquiat 347
Danny Simmons, Jr. 349
The New Abstraction 350
Jack Whitten 351
Thornton Dial, Sr. 351
Mildred Thompson 353
Gaye Ellington 355
Architecture 356
J. Max Bond, Jr. 356
Norma Merrick Sklarek 358
Mario Gooden and Ray Huff 359
Summary 364
Key Terms 365
Questions for Further Study and Discussion 366
Summary 396
Key Terms 396
Questions for Further Study and Discussion 397
Glossary 399
Bibliography 413
Index 433
grand epic and provides an enlightening account of Africans and their de-
scendants. Viewed individually, each work becomes an episode in the larger
narrative, offering insights into the ways and means of African-American
artists, and into the nature of art as language.
Through a carefully selected collection of creative works and accompanying
analyses, The History of African-American Art addresses crucial gaps in the schol-
arly literature and breaks new ground in several areas. It is the first comprehen-
sive survey on the subject to be published in more than a decade, and it is one
of the only art surveys (on any subject) to include nearly 40 percent women
artists. This book also integrates photography and architecture—genres that
have been minimally represented in African-American art histories—into its
discussion of the 19th and 20th centuries.
the few brave black feminist artists who grappled with this dilemma, such
as Faith Ringgold, who is considered a leading light of black feminist art.
Initially a staunch activist in the Black Arts Movement, the patriarchal and,
at times, misogynistic impulses of some of its players (who discouraged and
marginalized female participants) convinced Ringgold to shift allegiances
to the Women’s Art Movement. The latter group, however, although sup-
portive of women artists, was essentially a middle-class white collective
with little or no interest in the racial and economic concerns of minority
women artists. Nevertheless, Ringgold found her place within the Women’s
Art Movement and became its first major black contributor.
Chapter 12 surveys the black participants in the many iterations of
Postmodernism in the 1980s and 1990s. Postmodernism sprang both from
and rejected Modernism. Quintessential modern art was marked by com-
positional purity, single-medium works (mainly painting and sculpture),
abstraction or nonrepresentation, and a foregrounding of form over con-
tent. Postmodern art, by contrast, preferred unorthodox compositional
structures, multimedia and alternative media works, and word-based con-
ceptual art. This chapter reviews Conceptualism, Post-Minimalism, Earth
Art, assemblage, and installation art. Many of these styles reject the idea of
the art “object” as a permanent, unchangeable, or even necessary compo-
nent of art. Because Postmodernism dismissed much of the artistic conven-
tions set in place by artistic traditions of the past, photography, which is
also discussed, became a flexible medium that could be coupled with texts,
sounds, collage techniques, installation, and other methodologies to create
an entirely new form of expression.
Chapter 13 examines the persistence of two midcentury traditions as
the 20th century came to a close. The first is figurative art in the form of
Neo-Expressionism and related representational trends. Exponents of the
late 20th-century figurative impulse include Kara Walker and Robert
Colescott, whose works incorporate elements of black caricature and satire
in order to subvert the very stereotypes that these caricatures once pro-
moted. As proponents of the figurative and the political, their works look
backward to the Black Arts Movement and to a resistance to change while,
at the same time, embracing new approaches to black art that are less di-
dactic than those of the past. The flip side of the figurative coin, and
equally persistent at the close of the 20th century, is abstraction, as seen
in works such as the jazz-inspired paintings of colorist Gaye Ellington—
granddaughter of the famed jazz musician Duke Ellington—or the ethe-
real abstractions of Danny Simmons—brother of art patron and famed
music producer Russell Simmons. The chapter concludes with a renewed
look at architecture. The relative dearth of African-American architecture
prior to the latter 20th century is superseded by an abundance of projects
by gifted black designers in a variety of styles, including neomodern, neo-
historicist, and postmodern.
African-American Art: A Visual and Cultural History concludes in
Chapter 14 with an eye to the future. Presented in this final chapter are
artists who gained national and international attention in the most recent
years of the New Millennium. “Post-Black” as a term that defines changing