Introduction Against Positive Images
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African American Culture in Historical Art Museums: Remembering a Buried Tragic Past Lana Sarkisian Chapman University, [email protected]
Chapman University Chapman University Digital Commons Office of Undergraduate Research and Creative Student Research Day Abstracts and Posters Activity Fall 12-7-2016 African American Culture in Historical Art Museums: Remembering a Buried Tragic Past Lana Sarkisian Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/cusrd_abstracts Part of the African American Studies Commons, African Studies Commons, and the Art and Design Commons Recommended Citation Sarkisian, Lana, "African American Culture in Historical Art Museums: Remembering a Buried Tragic Past" (2016). Student Research Day Abstracts and Posters. 221. http://digitalcommons.chapman.edu/cusrd_abstracts/221 This Poster is brought to you for free and open access by the Office of Undergraduate Research and Creative Activity at Chapman University Digital Commons. It has been accepted for inclusion in Student Research Day Abstracts and Posters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. African American Culture in Historical Art Museums: Remembering A Buried Tragic Past Lana Sarkisian Advisor: Dr. Wendy Salmond; Art History FFC 100-24 Department of Art, Chapman University, Orange, CA Thesis Significance Conclusion Many art and cultural institutions in the United States have marginalized By revealing the museum’s lack of transparency, Wilson’s installations Fred Wilson’s objective is to create a new narrative through each of his African American culture because their story has been told in a white leave visitors humbled and lost as they confront their initial obliviousness works, which generally stress racial biases and preferences through the national narrative. To change the ideas embodied in museums, Fred to the museum’s flawed depiction of African American culture and juxtaposition of artifacts in cultural institutions. -
E Pluribus Unum
E PLURIBUS UNUM THE BRADLEY PROJECT ON AMERICA’S NATIONAL IDENTITY “Citizens“Citizens byby birthbirth oror choice,choice, ofof aa commoncommon country,country, thatthat countrycountry hashas aa rightright toto concentrateconcentrate youryour affections.affections. TheThe namename ofof AMERICAN,AMERICAN, whichwhich belongsbelongs toto you,you, inin youryour nationalnational capacity,capacity, mustmust alwaysalways exaltexalt thethe justjust pridepride ofof PatriotismPatriotism ….”….” -- GeorgeGeorge Washington,Washington, FarewellFarewell AddressAddress E PLURIBUS UNUM THE BRADLEY PROJECT ON AMERICA’S NATIONAL IDENTITY June 2008 CONTENTS EXECUTIVE SUMMARY 1 INTRODUCTION 8 BEING AN AMERICAN 9 A NATION BASED ON AN IDEA 16 A SHARED HISTORY 23 BECOMING AMERICANS 31 TO PROVIDE FOR THE COMMON DEFENSE 38 THE UNUM IS AMERICA 41 CONCLUSION 45 ACKNOWLEDGMENTS 51 THE BRADLEY PROJECT ON AMERICA’s NATIONAL IDENTITY I E PLURIBUS UNUM I 1 EXECUTIVE SUMMARY America is facing an identity crisis. The identity, 63 percent believe this iden- next generation of Americans will know tity is weakening. Almost a quarter—24 less than their parents know about our percent—believe we are already so di- history and founding ideals. And many vided that a common national identity is Americans are more aware of what divides impossible. In their minds, it is already us than of what unites us. We are in danger too late. And young people—on whom our of becoming not “from many, one”— continued national identity depends— E Pluribus Unum—but its opposite, “from are less likely than older Americans to be one, many.” proud of their country or to believe that it The Bradley Project on America’s has a unique national identity. -
Mindy Taylor Ross ART STRATEGIES LLC E: [email protected] W
Mindy Taylor Ross ART STRATEGIES LLC E: [email protected] W: www.Art-Strategies.com Professional Experience ART STRATEGIES, LLC. Carmel, Indiana Founder/Owner, May 2004 to present Art Strategies provides curatorial, strategic planning, and project management services to individuals, not-for-profit organizations, government entities, and corporations that want to incorporate fine art or placemaking strategies into their public and private spaces. A variety of curatorial, project management, grant writing and coordination services may be provided. Projects of Note Include: Cummins Inc.: Cummins Corporate Office Building (World Headquarters), Columbus, IN. Curator & Project Manager (2018 to present, expected completion is mid-2020.) This project is one to renovate and improve the 1983 Kevin Roche designed building that serves as the company’s world headquarters. It is a sprawling structure of about 320,000 square feet of space over three floors. Working with Cummins staff and the Ratio Architects, an art program is being formed that will be composed of existing historic works of art already owned by the company, two new site specific commissions, and a many new artworks. Responsibilities Included: • Identifying the significant works of art already deployed in the building. • Making recommendations about the historic artworks that should be conserved and re-used. • Arranging for conservation, re-framing, and storage of the important historic artworks. • Selecting new artists and artworks to compliment the historic collection but work with the company’s updated interior and goals. • Coordinate the locations for art with the architects and review infrastructure conflicts, bracing needs, and lighting. • Manage the contracting, design, review, approval, fabrication, delivery and installation of two new site specific artworks. -
ABSTRACTIONIST AESTHETICS Artistic Form and Social Critique in African American Culture
ABSTRACTIONIST AESTHETICS Artistic Form and Social Critique in African American Culture PHILLIP BRIAN HARPER a NEW YORK UNIVERSITY PRESS NEW YORK AND LONDON FORTHCOMING DECEMBER 2015--DO NOT CITE OR CIRCULATE DO NOT CITE OR CIRCULATE Introduction Against Positive Images If art reflects life it does so with special mirrors. — Bertolt Brecht Abstractionist Aesthetics is a theoretical polemic concerned with the criti- cal potential of African American expressive culture. It is premised on the widely accepted (if debatable) notion that such culture consists in works and practices that both originate among and in some way represent the experiences of African American people while also illuminating and appraising the racial-p olitical context in which those experiences occur.1 Conceived in this way, African American culture effectively compels polemic, in that it forces the perennially contestable question of how best to make a racial-p olitical stand; and indeed, this book is preceded by a suc- cession of similarly argumentative tracts issued over the past century or so. For the most part, these call for a socially engaged black art whose manifes- tation as such, they contend, necessitates an organic connection between the individual artist and the “community.” Alternatively—s ometimes simultaneously—t hey repudiate such prescriptions, enjoining black art- ists to pursue whatever aesthetic paths they choose, heedless of “pleas[ing] either white people or black,” itself a political move.2 The urgency of these competing directives has of course varied with the historical winds, but their mere existence indicates the peculiar effects of African American ||| 1 DO NOT CITE OR CIRCULATE culture’s having been conceived at all as a political project, a primary one of which is that any given work— not to mention the artist who produced it— is always liable to be deemed not properly black. -
Unsafe Ideas, Public Art, and E Pluribus Unum an Interview with Fred Wilson
Unsafe Ideas, Public Art, and E Pluribus Unum An Interview with Fred Wilson MODUPE LABODE tanding at the symbolic center of Indianapolis, the 1902 Soldiers’ and SSailors’ Monument is the dominant monument in a city that takes pride in its commemorative sculpture. It is a war memorial, a landmark, a tourist attraction, and on occasion, an oversized Christmas tree. Artist Fred Wilson recently attempted to focus attention on one aspect of the monument—the figure of an African American man, an emancipated slave—through his proposed piece of public art, E Pluribus Unum (Out of Many, One). 1 The freed man is part of the ornate “Peace Group” on the monument’s west side, and many were unaware of the figure’s exis - tence until Wilson’s project brought it to their attention. 2 However, once people noticed the figure, a multifaceted controversy slowly built about __________________________ Modupe Labode is Assistant Professor of History and Museum Studies and public scholar of African American history and museums at Indiana University–Purdue University Indianapolis. 1Wilson writes that the sculpture’s title comes from the motto on the shield behind the original figure on the monument and also references the importance of the African Diaspora. Fred Wilson, “Artist’s Statement: E Pluribus Unum ,” n.d. For information about the project see the website established by the Central Indiana Community Foundation, FredWilsonIndy.Org , online at http://www.fredwilsonindy.org . 2Much of the analysis of the controversy has occurred online; see Tyler Green, Modern Art Notes (blog), online at http://blogs.artinfo.com/modernartnotes/category/e-pluribus-unum/ ; Jennifer Geigel Mikulay, “Speaking of Influence: A Monument’s Invisible Man,” Art21 (blog), INDIANA MAGAZINE OF HISTORY, 108 (December 2012) ᭧ 2012, Trustees of Indiana University. -
E Pluribus Unum: Revolutionary Monuments and the Nation in the Early American Republic, 1776-1846” (Under the Direction of Dr
ABSTRACT WILS, JAMES R. “E Pluribus Unum: Revolutionary Monuments and the Nation in the Early American Republic, 1776-1846” (Under the direction of Dr. Craig Thompson Friend). At the end of the American Revolutionary War, Americans began to erect monuments to the American Revolution, marking a commemorative tradition that had emerged from the collective memory of a shared American past. Historians have often attempted to understand American monuments, including those of the early republic, within a democratic framework, created and consumed by the American people. They have not considered the republican contexts for early national monuments, consequently casting regional differences in monuments as symbolic of the strains of the United States’ fledgling democracy. “E Pluribus Unum: Revolutionary Monuments and the Nation in the Early American Republic, 1776-1848” examines early monuments to the Revolution, addressing the interplay between “official” national monumentalism and more vernacular forms that played out at local and regional levels. I argue that in trying to create a unified, official cultural identity, national leaders employed monuments as rhetorical strategies to stimulate suitable national feeling. Meanwhile, communities drew their own commemorative meanings of the Revolution. In both official and vernacular commemorations, the intentions were to model proper virtue for generations of Americans. Investigating the republican purposes for early national monuments to the American Revolution, rather than the democratic consumption thereof, enables a better understanding of how tensions between national and local, official and vernacular played a role in creating the American tradition of monumental commemoration. Building upon recent public and scholarly interest in the rhetoric of American monuments, this dissertation examines how, between the Revolutionary War and the Civil War, the American Revolution manifested in the American commemorative landscape, public monuments, and collective memory. -
E Pluribus Unum Is the Result of a God-Given Necessity That Was Laid Upon Me to Encourage the Church of the Nazarene to Create a Climate of Inclusion and Opportunity
Copyright 2007 By Beacon Hill Press of Kansas City ISBN 978-0-8341-2341-2319-9 Printed in the United States of America 10 9 8 7 6 5 4 3 2 1 Contents Preface 5 Introduction Jerry D. Porter 7 Major Shifts in Immigration Patterns Oliver R. Phillips 9 The Biblical Foundation for Multicultural Ministry Ken Baker 27 Future Cultural Trends in the United States: A Historical Perspective Dale E. Jones 42 The Multi-Congregational Church in the North American Context Roberto Hodgson 51 The Walls Have Come Down in Christ Jesus Ron Benefiel 71 Who Moved My Church? Oliver R. Phillips 86 The Immigrant Churches: Toward a Stranger’s Theology Sam Vassel & Gabriel Salguero 112 The History of the Black Church in America Love Henry Whelchel 132 The Multicultural Church Russell Begaye 166 Signs of Pentecost and Heaven Tom Nees 183 What Kind of Ministry Leaders Ought We to Be in this New Diverse Cultural World that Confronts Us? Fletcher Tink 195 Multicultural Concepts and Models Richard Houseal 219 Starting Healthy Congregations Jim Dorsey 230 No Easy Answers Russell Begaye 250 Preface This is a compilation of essays. It is, as the title suggests, an interpretation of the challenges and opportunities the immi- grant population brings to the evangelical community in terms of its missional strategies. The book does not promote any par- ticular strategy, but every effort has been taken to expose mis- sional challenges and to suggest that God may be expecting us to be diligent in the strategies we use to take advantage of our ever changing cultural demographics.