Black Refractions : highlights from the Studio Museum in Harlem by Connie H. Choi; Thelma Golden; Kellie JonesThe artists featured in Black Refractions, including Kerry James Marshall, Faith Ringgold, Nari Ward, Norman Lewis, Wangechi Mutu, and Lorna Simpson, are drawn from the renowned collection of the Studio Museum in Harlem. Through exhibitions, public programs, artist-in-resdiencies, and bold acquisitions, this pioneering institution has served as a nexus for artists of African descent locally, nationally, and internationally since its founding in 1968. Rather than aim to construct a single history of "black art," Black Refractions emphasises a plurality of narratives and approaches, traced through 125 works in all media from the 1930s to the present. An essay by Connie Choi and entries by Eliza A. Butler, Akili Tommasino, Taylor Aldridge, Larry Ossei Mensah, Daniela Fifi , and other luminaries contextualize the works and provide detailed commentary. A dialogue between Thelma Golden, Connie Choi, and Kellie Jones draws out themes and challenges in collecting and exhibiting modern and contemporary art by artists of African descent. More than a document of a particular institution's trailblazing path, or catalytic role in the development of American appreciation for art of the African diaspora, this volume is a compendium of a vital art tradition.
Location: Mugar Stacks N620.S88 C46 2019
African American Masters: highlights from the Smithsonian American Art Museum by Gwen Everett; Smithsonian American Art Museum StaffThis is an accessible, reader-friendly introduction to 20th-century, African-American art, illustrated with works from the Smithsonian American Art Museum and published to accompany a touring exhibition. African-American art, and the works represented in this catalogue range from pioneer works created early in the century to important pieces from the Harlem Renaissance, to modern and contemporary selections. Full-page colour reproductions of paintings, sculpture and photography from artists such as Romare Bearden, Roy DeCarava, Faith Ringgold, John Biggers and Gordon Parks provide an introduction to this area of art.
Location: Mugar Stacks N6538.N5 E84 2003
Exhibiting Blackness: African Americans and the American art museum by Bridget R. CooksIn 1927, the Chicago Art Institute presented the first major museum exhibition of art by African Americans. Designed to demonstrate the artists' abilities and to promote racial equality, the exhibition also revealed the art world's anxieties about the participation of African Americans in the exclusive venue of art museums -- places where blacks had historically been barred from visiting let alone exhibiting. Since then, America's major art museums have served as crucial locations for African Americans to protest against their exclusion and attest to their contributions in the visual arts. In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans -- an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions -- Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.
Location: Also in print: Mugar Stacks N510 .C67 2011
Jacob Lawrence: the migration series by Leah Dickerman, etal.In 1941, Jacob Lawrence, then just twenty-three years old, completed a series of sixty small tempera paintings with text captions about the Great Migration. Within months of its making, Lawrence_s Migration series was divided between The Museum of Modern Art (even numbered panels) and the Phillips Memorial Gallery (odd numbered panels). The work has since become a landmark in the history of African-American art, a monument in the collections of both institutions, and a crucial example of the way in which history painting was radically reimagined in the modern era. In 2015 and 2016, marking the centenary of the Great Migration_s start (1915_16), the panels will be reunited in exhibitions at The Museum of Modern Art and then The Phillips Collection. Published to accompany the exhibition, this publication both grounds Lawrence_s Migration series in the cultural and political debates that shaped the young artist_s work and highlights the series_ continued resonance for artists and writers working today. An essay by Leah Dickerman situates the series in relation to heady contemporary discussions of the artist_s role as a social agent; a growing imperative to write _ and give image to _ black history in the late 1930s and early 1940s; and an emergent sense of activist politics. Elsa Smithgall traces the exhibition history of the Migration panels from their display at the Downtown Gallery in New York in 1941 to their acquisition by MoMA and the Phillips Collection a year later. Short commentaries on each panel explore Lawrence_s career and painting technique and aspects of the social history of the Migration portrayed in his images. The catalogue also debuts ten poems newly commissioned from acclaimed poets written in response to the Migration series. Elizabeth Alexander (honoured as the poet at President Obama_s first inauguration) introduces the poetry project with a discussion of the poetic quality of Lawrence_s work, as well as the impact and legacy of the poets in his orbit including Claude McKay and Langston Hughes.
Location: Mugar Folio ND237.L29 A4 2015
Mounting Frustration: the art museum in the age of Black power by Susan E. CahanIn 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.
Fired up! Ready to Go! finding beauty, demanding equity : an African American life in art : the collections of Peggy Cooper Cafritz by Peggy Cooper CafritzAfter decades of art collecting, prominent Washington D.C.-based activist, philanthropist, and founder of the august Duke Ellington School of the Arts, Peggy Cooper Cafritz had amassed one of the most important collections of work by artists of color in the country. But in 2009, the more than three hundred works that comprised this extraordinary collection were destroyed in the largest residential fire in Washington, D.C. history. The pioneering collection included art by Kara Walker, Kerry James Marshall, Mickalene Thomas, Yinka Shonibare, Nick Cave, Kehinde Wiley, Barkley L. Hendricks, Lorna Simpson, and Carrie Mae Weems, among many others. This beautifully illustrated volume features 200 of the works that were lost, along with works that she has collected since the fire, as well as important contributions by preeminent curators and artists.