DOCSLIB.ORG

Black and African American Artists of the Kansas City Region

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Black and African American Artists of the Kansas City Region Kim Alexis Newton, American (b. 1972). Embraced Promises, 2020. Cotton, Indonesian Batik cotton, fabric fusing, and quilting, 54 x 44 inches. Courtesy of Anne Devereux-Mills and David Mills. Photo courtesy John W. Hans Library Guide Black and African American Artists of the Kansas City Region Resource List | 2021 In conjunction with the exhibition, Testimony: African American Artists Collective, the library presents this list of materials for further exploration. We have included resources about the artists in the featured exhibition as well as Black and African American artists whose work is in the museum’s permanent collection. We’ve also included a survey of titles which looks broadly at African American Art and culture, which will be on display in the library throughout the exhibition. If you have questions, please contact the reference staff at the Spencer Art Reference Library (telephone 816-751-1216). Library hours and services are listed on the Museum’s website at https://nelson- atkins.org/library/ Selected by: Roberta Wagener | Specialist, Access Services African American Artists Collective Michelle Monette Beasley African American Artists Collective. Home “Michelle Beasley” Plaza Art Fair, Accessed Page. Accessed May 27, 2021. June 10, 2021. https://www.aaackc.org/ https://www.plazaartfair.com/pinnacle-flight- artists Martin, James. “African American Artists Collective: Advocating for Black Art in Exhibits “Michelle Beasley,” African American Artists and Commissions, Group Members are Making Collective. Accessed June 10, 2021. Their Mark on the KC Arts Scene,” KC Studio, https://www.aaackc.org/bio-s v. 10, no. 5, (September/October 2018), pg. 92- 95. LeRoy Beasley Call No: Serials KC Studio “J. LeRoy Beasley” Plaza Art Fair, Accessed June 10, 2021. Individual Artists https://www.plazaartfair.com/pinnacle-flight- Tyrone Aiken artists “Tyrone Aiken,” African American Artists Collective. Accessed June 10, 2021. “J. LeRoy Beasley,” African American Artists https://www.aaackc.org/bio-s Collective. Accessed June 10, 2021. https://www.aaackc.org/bio-s Library Resource List 2021 | African American Artists | 1 Charles A. Bibbs Taylor Renee Brown “Charles Bibbs,”African American Artists “Taylor Brown,” African American Artists Collective. Accessed June 10, 2021. Collective. Accessed June 10, 2021. https://www.aaackc.org/bio-s https://www.aaackc.org/bio-s CBibbs.com Home Page. Accessed June 11, J. T. Daniels 2021 J.T. Daniels Art, “About,” Accessed June 8, https://www.cbibbs.com/ 2021. https://www.jtdanielsart.com/about/contact Nedra Bonds Nedra Bonds: Artist File, Spencer Art Reference Mcleay, Allison. “Kansas City Muralist J.T. Library, The Nelson-Atkins Museum of Art. Daniels Makes Art that Reflects and Celebrates Call No: Artists Files the Community,” The Kansas City Star, August 12, 2019. Accessed June 8, 2021. “Nedra Bonds: The Angry Quilter,” BBC News. https://www.kansascity.com/spaces/article233 September 25, 2016. Accessed June 8, 2021. 795812.html https://www.bbc.com/news/magazine- 37450269 Trafton, Robin. “J.T. Daniels Enlivens KC Streetcar Stop with ‘Wait Here’,” Art in the Janovy, C.J. “After Kicking Cancer, Kansas City Loop, Accessed June 8, 2021. Artist Nedra Bonds Shows Her Life’s Work,” https://www.artintheloop.com/2017/09/01/j- KCUR. February 9, 2017. Accessed June 8, t-daniels-enlivens-kc-streetcar-stop-with-wait- 2021. here/ https://www.kcur.org/arts-life/2017-02- 09/after-kicking-cancer-kansas-city-artist-nedra- Ramona Davis bonds-shows-her-lifes-work Howard-Williams, Chris. “Ramona Davis: Women Who Lead in the Arts,” UMKC Michael Brantley Women’s Center Blog, October 17, 2018. “Rhythm & Hues: Michael Brantley,” Michael Accessed June 8, 2021. Brantley: Fine Art Paintings/Prints. Accessed https://info.umkc.edu/womenc/2018/10/17/r June 8, 2021. amona-davis-women-who-lead-in-the-arts/ https://www.michaelbrantleyart.com/ “Ramona Davis,” African American Artists Marso, Andy. “KCK Artist Struggles to Stay Collective. Accessed June 11, 2021. Insured as Disease Could Rob Him of His https://www.aaackc.org/bio-s Eyesight,” The Kansas City Star, April 14, 2019. Accessed June 8, 2021. “R.E. Davis: Creative, Advocate, Collector, https://www.kansascity.com/news/business/h Founder.” Home Page. Accessed June 11, 2021. ealth-care/article228839814.html https://www.redavis-art.com/ Larry Poncho Brown Najee Dorsey “The Art of Poncho,” Home Page. Accessed “Najee Dorsey,” African American Artists June 11, 2021. Collective. Accessed June 11, 2021. http://theartofponcho.com/bio/ https://www.aaackc.org/bio-s “Larry Poncho Brown,” African American Artists Najee Dorsey.com, Home Page. Accessed June Collective. Accessed June 11, 2021. 11, 2021. https://www.aaackc.org/bio-s https://najeedorsey.com/ Library Resource List 2021 | African American Artists | 2 Gural, Natasha. “’Black Art in America’ Thrives RHalePhoto.com. Home Page. Accessed June with Zadig & Voltaire Collaboration, Museum 11, 2021. Gifts, and Founder’s Solo Show,” Forbes, https://www.rhalefoto.com/ December 29, 2020. Accessed June 11, 2021. https://www.forbes.com/sites/natashagural/20 Juliette Hemingway 21/12/29/black-art-in-america-thrives-with- “Hemingway Studios: Featuring the Work of zadig--voltaire-collaboration-museum-gifts-and- Juliette Hemingway,” Home Page, Accessed founders-solo-show/?sh=57ff01343670 June 10, 2021. https://hemingwaystudios.com/ Gerald D. Dunn “Gerald D. Dunn,”African American Artists “Art and Autism with Juliette Hemingway,” Collective. Accessed June 11, 2021. Colorado Fun Magazine, Accessed June 10, 2021. https://www.aaackc.org/bio-s https://www.coloradofunguide.com/art- autism-with-juliette-hemingway/ Ed Dwight Ed Dwight: Artist File, Spencer Art Reference Kimberlyn Jones Library, The Nelson-Atkins Museum of Art. “Kimberlyn Jones,” African American Artists Call No: Artists Files Collective. Accessed June 11, 2021. https://www.aaackc.org/bio-s “Ed Dwight: Sculptor & Historian,” Accessed June 8, 2021. Clarissa Knighten https://www.eddwight.com/ Clarissa Knighten: Artist File, Spencer Art Reference Library, The Nelson-Atkins Museum Everett Freeman of Art. “Evertt Freeman,” African American Artists Call No: Artists Files Collective. Accessed June 11, 2021. https://www.aaackc.org/bio-s Smith, Harold, “Artist to Watch: Clarissa Knighten,” KC Studio, March 3, 2021. Diallo Javonne French http://kcstudio.org/artist-to-watch-clarissa- Diallo Javonne French: Artist File, Spencer Art knighten/ Reference Library, The Nelson-Atkins Museum of Art. Rissa’s Artistic Design, “Clarissa Knighten: Call No: Artists Files Jewelry Designer,” Accessed June 9, 2021. https://www.rissasartisticdesign.com/about Javonne Films & Photography, Home Page, Accessed June 9, 2021. Tracy Milsap https://www.javonnefilms.com/ Caines Coggswell, Gladys. Stories from the Heart: Missouri’s African American Heritage. Columbia: Hoedel, Cindy. “IN Conversation with Diallo University of Missouri Press, 2009. Javonne French,” IN Kansas City. Accessed June Available at Kansas City Public Library and 9, 2021. Mid-Continent Public Library. https://www.inkansascity.com/innovators- influencers/people/in-conversation-with-diallo- Sherry Lyn Mirador javonne-french/ “Sherry Lyn Mirador,” African American Artists Collective. Accessed June 11, 2021. Robert Hale https://www.aaackc.org/bio-s “Robert Hale,” African American Artists Collective. Accessed June 10, 2021. https://www.aaackc.org/bio-s Library Resource List 2021 | African American Artists | 3 Dean Mitchell Kim Alexis Newton Dean Mitchell: Artist File, Spencer Art “Kim Newton,” African American Artists Reference Library, The Nelson-Atkins Museum Collective. Accessed June 11, 2021. of Art. https://www.aaackc.org/bio-s Call No: Artists Files “Kim Alexis Newton,” Home Page, Accessed Dean Mitchell Studio, Home Page, Accessed June 11, 2021. June 9, 2021. https://kimalexisnewton.com/ https://deanmitchellstudio.com/ Glenn A. North, Jr. Hunter, Anne Marie, “The Art of Dean “Glenn North,” African American Artists Mitchell, EthnicArt Gallery,” KC Studio, May 22, Collective. Accessed June 11, 2021. 2018. Accessed June 9, 2021. https://www.aaackc.org/bio-s http://kcstudio.org/the-art-of-dean-mitchell- ethnicart-gallery/ “Glenn North: Kansas City,” Home Page, Accessed June 11, 2021. Arie Dee Monroe https://www.glennnorthpoetry.com/ “Arie Monroe,” African American Artists Collective. Accessed June 10, 2021. Wilson, Calvin. “Glenn North: Truth Teller,” https://www.aaackc.org/bio-s KC Studio, March 12, 2018; Accessed June 11, 2021. Arie Monroe Art, Home Page, Accessed June http://kcstudio.org/glenn-north-truth-teller/ 11, 2021. https://www.ariemonroeart.com/ Michael Tjon Patton “Michael Patton.,” African American Artists Joseph A. Newton Collective. Accessed June 10, 2021. The Newton Gallery, “About the Artist,” https://www.aaackc.org/bio-s Accessed June 10, 2021. https://www.thenewtongallery.com/Artist Jason D. Piggie Jason D. Piggie: Artist File, Spencer Art “Joseph Newton, Jr.,” African American Artists Reference Library, The Nelson-Atkins Museum Collective. Accessed June 10, 2021. of Art. https://www.aaackc.org/bio-s Call No: Artists Files Joseph Tyler Newton “Jason Piggie,” African American Artists Collective. Joseph T. Newton: Artist File, Spencer Art Accessed June 10, 2021. Reference Library, The Nelson-Atkins Museum https://www.aaackc.org/bio-s of Art. Call No: Artists Files Lisa Shephard Shepard, Lisa. “Cultured Expressions: Home Martin, James. “Artist to Watch: Joseph T. Page,” Accessed July 22, 2021. Newton,” KC Studio, May 17, 2019. Accessed
Load more

Recommended publications
  • Black History Month February 2020
    BLACK HISTORY MONTH FEBRUARY 2020 LITERARY FINE ARTS MUSIC ARTS Esperanza Rising by Frida Kahlo Pam Munoz Ryan Frida Kahlo and Her (grades 3 - 8) Animalitos by Monica Brown and John Parra What Can a Citizen Do? by Dave Eggers and Shawn Harris (K-2) MATH & CULINARY HISTORY SCIENCE ARTS BLACK HISTORY MONTH FEBRUARY 2020 FINE ARTS Alma Thomas Jacob Lawrence Faith Ringgold Alma Thomas was an Faith Ringgold works in a Expressionist painter who variety of mediums, but is most famous for her is best-known for her brightly colored, often narrative quilts. Create a geometric abstract colorful picture, leaving paintings composed of 1 or 2 inches empty along small lines and dot-like the edge of your paper marks. on all four sides. Cut colorful cardstock or Using Q-Tips and primary Jacob Lawrence created construction paper into colors, create a painted works of "dynamic squares to add a "quilt" pattern in the style of Cubism" inspired by the trim border to your Thomas. shapes and colors of piece. Harlem. His artwork told stories of the African- American experience in the 20th century, which defines him as an artist of social realism, or artwork based on real, modern life. Using oil pastels and block shapes, create a picture from a day in your life at school. What details stand out? BLACK HISTORY MONTH FEBRUARY 2020 MUSIC Creating a Music important to blues music, and pop to create and often feature timeless radio hits. Map melancholy tales. Famous Famous Motown With your students, fill blues musicians include B.B.
    [Show full text]
  • Honorary Degree Recipients 1977 – Present
    Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Claire Collins Harvey, C‘37 Harry Belafonte 1977 Patricia Roberts Harris Katherine Dunham 1990 Toni Morrison 1978 Nelson Mandela Marian Anderson Marguerite Ross Barnett Ruby Dee Mattiwilda Dobbs, C‘46 1979 1991 Constance Baker Motley Miriam Makeba Sarah Sage McAlpin Audrey Forbes Manley, C‘55 Mary French Rockefeller 1980 Jesse Norman 1992 Mabel Murphy Smythe* Louis Rawls 1993 Cardiss Collins Oprah Winfrey Effie O’Neal Ellis, C‘33 Margaret Walker Alexander Dorothy I. Height 1981 Oran W. Eagleson Albert E. Manley Carol Moseley Braun 1994 Mary Brookins Ross, C‘28 Donna Shalala Shirley Chisholm Susan Taylor Eleanor Holmes Norton 1982 Elizabeth Catlett James Robinson Alice Walker* 1995 Maya Angelou Elie Wiesel Etta Moten Barnett Rita Dove Anne Cox Chambers 1983 Myrlie Evers-Williams Grace L. Hewell, C‘40 Damon Keith 1996 Sam Nunn Pinkie Gordon Lane, C‘49 Clara Stanton Jones, C‘34 Levi Watkins, Jr. Coretta Scott King Patricia Roberts Harris 1984 Jeanne Spurlock* Claire Collins Harvey, C’37 1997 Cicely Tyson Bernice Johnson Reagan, C‘70 Mary Hatwood Futrell Margaret Taylor Burroughs Charles Merrill Jewel Plummer Cobb 1985 Romae Turner Powell, C‘47 Ruth Davis, C‘66 Maxine Waters Lani Guinier 1998 Gwendolyn Brooks Alexine Clement Jackson, C‘56 William H. Cosby 1986 Jackie Joyner Kersee Faye Wattleton Louis Stokes Lena Horne Aurelia E. Brazeal, C‘65 Jacob Lawrence Johnnetta Betsch Cole 1987 Leontyne Price Dorothy Cotton Earl Graves Donald M. Stewart 1999 Selma Burke Marcelite Jordan Harris, C‘64 1988 Pearl Primus Lee Lorch Dame Ruth Nita Barrow Jewel Limar Prestage 1989 Camille Hanks Cosby Deborah Prothrow-Stith, C‘75 * Former Student As of November 2019 Board of Trustees HONORARY DEGREE RECIPIENTS 1977 – PRESENT Name Year Awarded Name Year Awarded Max Cleland Herschelle Sullivan Challenor, C’61 Maxine D.
    [Show full text]
  • Nytimes Black History Month Is a Good Excuse for Delving Into Our
    Black History Month Is a Good Excuse for Delving Into Our Art An African-American studies professor suggests ways to mark the month, from David Driskell’s paintings and Dance Theater of Harlem’s streamed performances to the rollicking return of “Queen Sugar.” David Driskell’s “Swing Low, Sweet Chariot,” (1972), acrylic on canvas. Estate of David C. Driskell and DC Moore Gallery By Salamishah Tillet • Feb. 18, 2021 Black History Month feels more urgent this year. Its roots go back to 1926, when the historian Carter G. Woodson developed Negro History Week, near the February birthdays of both President Abraham Lincoln and the abolitionist Frederick Douglass, in the belief that new stories of Black life could counter old racist stereotypes. Now in this age of racial reckoning and social distancing, our need to connect with each other has never been greater. As a professor of African-American studies, I am increasingly animated by the work of teachers who have updated Woodson’s goal for the 21st century. Just this week, my 8- year-old daughter showed me a letter written by her entire 3rd-grade art class to Faith Ringgold, the 90-year-old African-American artist. And my son told me about a recent pre-K lesson on Ruby Bridges, the first African-American student who, at 6, integrated an elementary school in the South. Suddenly, the conversations my kids have at home with my husband and me are the ones they’re having in their classrooms. It's not just their history that belongs in all these spaces, but their knowledge, too.
    [Show full text]
  • African American Creative Arts Dance, Literature, Music, Theater, and Visual Art from the Great Depression to Post-Civil Rights Movement of the 1960S
    International Journal of Humanities and Social Science Vol. 6, No. 2; February 2016 African American Creative Arts Dance, Literature, Music, Theater, and Visual Art From the Great Depression to Post-Civil Rights Movement of the 1960s Dr. Iola Thompson, Ed. D Medgar Evers College, CUNY 1650 Bedford Ave., Brooklyn, NY 11225 USA Abstract The African American creative arts of dance, music, literature, theater and visual art continued to evolve during the country’s Great Depression due to the Stock Market crash in 1929. Creative expression was based, in part, on the economic, political and social status of African Americans at the time. World War II had an indelible impact on African Americans when they saw that race greatly affected their treatment in the military while answering the patriotic call like white Americans. The Civil Rights Movement of the 1960s had the greatest influence on African American creative expression as they fought for racial equality and civil rights. Artistic aesthetics was based on the ideologies and experiences stemming from that period of political and social unrest. Keywords: African American, creative arts, Great Depression, WW II, Civil Rights Movement, 1960s Introduction African American creative arts went through several periods of transition since arriving on the American shores with enslaved Africans. After emancipation, African characteristics and elements began to change as the lifestyle of African Americans changed. The cultural, social, economic, and political vicissitudes caused the creative flow and productivity to change as well. The artistic community drew upon their experiences as dictated by various time periods, which also created their ideologies. During the Harlem Renaissance, African Americans experienced an explosive period of artistic creativity, where the previous article left off.
    [Show full text]
  • Diversity in the Arts
    Diversity In The Arts: The Past, Present, and Future of African American and Latino Museums, Dance Companies, and Theater Companies A Study by the DeVos Institute of Arts Management at the University of Maryland September 2015 Authors’ Note Introduction The DeVos Institute of Arts Management at the In 1999, Crossroads Theatre Company won the Tony Award University of Maryland has worked since its founding at the for Outstanding Regional Theatre in the United States, the John F. Kennedy Center for the Performing Arts in 2001 to first African American organization to earn this distinction. address one aspect of America’s racial divide: the disparity The acclaimed theater, based in New Brunswick, New between arts organizations of color and mainstream arts Jersey, had established a strong national artistic reputation organizations. (Please see Appendix A for a list of African and stood as a central component of the city’s cultural American and Latino organizations with which the Institute revitalization. has collaborated.) Through this work, the DeVos Institute staff has developed a deep and abiding respect for the artistry, That same year, however, financial difficulties forced the passion, and dedication of the artists of color who have theater to cancel several performances because it could not created their own organizations. Our hope is that this project pay for sets, costumes, or actors.1 By the following year, the will initiate action to ensure that the diverse and glorious quilt theater had amassed $2 million in debt, and its major funders that is the American arts ecology will be maintained for future speculated in the press about the organization’s viability.2 generations.
    [Show full text]
  • National Endowment for the Arts Annual Report 1993
    L T 1 TO THE CONGRESS OF THE UNITED STATES: It is my special pleasure to transmit herewith the Annual Report of the National Endowment for the Arts for the fiscal year 1993. The National Endowment for the Arts has awarded over 100,000 grants since 1965 for arts projects that touch every community in the Nation. Through its grants to individual artists, the agency has helped to launch and sustain the voice and grace of a generation--such as the brilliance of Rita Dove, now the U.S. Poet Laureate, or the daring of dancer Arthur Mitchell. Through its grants to art organizations, it has helped invigorate community arts centers and museums, preserve our folk heritage, and advance the perform­ ing, literary, and visual arts. Since its inception, the Arts Endowment has believed that all children should have an education in the arts. Over the past few years, the agency has worked hard to include the arts in our national education reform movement. Today, the arts are helping to lead the way in renewing American schools. I have seen first-hand the success story of this small agency. In my home State of Arkansas, the National Endowment for the Arts worked in partnership with the State arts agency and the private sector to bring artists into our schools, to help cities revive downtown centers, and to support opera and jazz, literature and music. All across the United States, the Endowment invests in our cultural institutions and artists. People in communities small and large in every State have greater opportunities to participate and enjoy the arts.
    [Show full text]
  • South Carolina African American History Calendar
    2018 South Carolina African American History Calendar Presented by South Carolina Department of Education RICH IN African American History FROM THE UPSTATE TO THE LOWCOUNTRY Dear Students, Educators, and Friends, The greatest lessons are often learned from listening and observing those people closest to us. Sermons from a life well lived give us inspiration, encouragement, pride, and hope. The South Carolina African American History Calendar honors our neighbors and friends who have lived their lives well. Their achievements have impacted the quality of life for all of us in extraordinary ways – through business, education, medicine, and public service. It is my hope that their courage and determination will inspire you as students and citizens of South Carolina to strive to make a positive difference in our state and nation. While the South Carolina Department of Education has been a partner in the production of the calendar for many years, we are honored to be the presenting sponsor of the 2018 calendar. All community partners have been invaluable to the calendar’s success and we appreciate their continued support and commitment in this 29th edition. Each month you will meet an honoree who has lived a life to the fullest. I hope that you will be inspired to do the same. Molly M. Spearman South Carolina Superintendent of Education Arthur Brown was born in Charleston, S.C. After graduating from the Avery Institute, he continued his education at South Carolina State College in Orangeburg, S.C. When he returned to Charleston, he worked as a real estate and insurance broker. Outside of work, however, he connected with the local chapter of the NAACP.
    [Show full text]
  • The National Arts Awards Chair
    1 Edye and Eli Broad salute Americans for the Arts and 2 tonight’s honorees for their commitment ensuring broad access to the arts 2014 Americans for the Arts National Arts Awards Monday, October 20, 2014 Welcome from Robert L. Lynch Performance by YoungArts Alumni President and CEO of Americans for the Arts Outstanding Contributions to the Arts Award Legacy Award American Legion Auxiliary Madeleine H. Berman Presented by Nolen V. Bivens, Presented by Anne Parsons Brigadier General, U.S. Army, (Ret) Accepted by Janet Jefford Lifetime Achievement Award Richard Serra Eli and Edythe Broad Award for 3 Presented by Jennifer Russell Philanthropy in the Arts Vicki and Roger Sant Arts Education Award Presented by The Honorable Christopher J. Dodd P.S. ARTS Presented by Ben Stiller Bell Family Foundation Young Artist Award Accepted by Joshua B. Tanzer David Hallberg Presented by RoseLee Goldberg Dinner Closing Remarks Robert L. Lynch introduction of Maria Bell Abel Lopez, Chair, Americans for the Arts Vice Chairman, Americans for the Arts Board of Board of Directors Directors and Chair, National Arts Awards and Robert L. Lynch Greetings from the Board Chair and President It is our pleasure to welcome you to our annual Americans for the Arts National Arts Awards. Tonight we again celebrate a select group of cultural leaders— groundbreaking artists, visionary philanthropists, and two outstanding nonprofit organizations—who help ensure that every American has access to the transformative power of the arts. We gratefully acknowledge the contributions of all of our honorees. In this time of increasing challenges to our nation’s security and the sacrifices made by our servicemen and women and their families, we are especially pleased to recognize the American Legion Auxiliary, one of our many partners in the work we do with the military and veterans on the role of the arts & healing.
    [Show full text]
  • History, Labor, Life: the Prints of Jacob Lawrence OCT
    CURRICULUM GUIDE GRADES K- 12 History, Labor, Life: The Prints of Jacob Lawrence OCT. 14, 2015 - JAN. 25, 2016 SCAD: The University for Creative Careers The Savannah College of Art and Design is a private, nonprofit, accredited institution conferring bachelor’s and master’s degrees at distinctive locations and online to prepare talented students for professional careers. SCAD offers degrees in more than 40 majors, as well as minors in more than 75 disciplines across its locations in Savannah and Atlanta, Georgia; in Hong Kong; in Lacoste, France; and online through SCAD eLearning. With more than 35,000 alumni worldwide, SCAD demonstrates an exceptional education and unparalleled career preparation. The diverse student body, consisting of nearly 14,000, comes from across the U.S. and more than 100 countries worldwide. Each student is nurtured and motivated by a faculty of nearly 700 professors with extraordinary academic credentials and valuable professional experience. These professors emphasize learning through individual attention in an inspiring university environment. The innovative SCAD curriculum is enhanced by advanced professional-level technology, equipment and learning resources, and has garnered acclaim from respected organizations and publications, including 3D World, American Institute of Architects, Businessweek, DesignIntelligence, U.S. News & World Report and the Los Angeles Times. For more information, visit scad.edu. a Cover Image: Jacob Lawrence, The Builders (Family), 1974 Table of Contents About the SCAD Museum of
    [Show full text]
  • Contemporary Monuments to the Slave Past
    NEH Application Cover Sheet (FEL-257329) Fellowships PROJECT DIRECTOR Renee Deanne Ater E-mail: [email protected] (b) (6) Phone: (b) (6) Fax: Status: Senior scholar Field of expertise: Art History and Criticism INSTITUTION University of Maryland College Park, MD 20742-7170 APPLICATION INFORMATION Title: Contemporary Monuments to the Slave Past: Race, Memorialization, Public Space, and Civic Engagement Grant period: From 2018-01-01 to 2018-12-31 Project field(s): Art History and Criticism; U.S. History; African American History Description of project: My digital publication investigates how we visualize, interpret, and engage the slave past through contemporary monuments created for public spaces. In the past twenty-five years, there has been an upsurge in the building of three-dimensional monuments that commemorate the Middle Passage and slavery, the resistance to enslavement, the Underground Railroad, the participation of black soldiers in the Civil War, and emancipation and freedom. From Mississippi to Illinois to Rhode Island, governments (local, county, state), colleges and universities, individuals, communities, and artists are in difficult conversations about how to acknowledge the history and legacy of the slave past and its visual representation for their towns, cities, states, and higher educational institutions. These monuments and conversations are the subject of Contemporary Monuments to the Slave Past: Race, Memorialization, Public Space, and Civic Engagement. REFERENCE LETTERS Erika Doss Ana Lucia Arajuo Professor Professor American Studies History University of Notre Dame Howard Unviersity [email protected] [email protected] R. Ater Contemporary Monuments to the Slave Past: Race, Memorialization, Public Space, and Civic Engagement 1 Research and contribution I seek funding for a digital publication that investigates how we visualize, interpret, and engage the slave past through contemporary monuments created for public spaces including parks, city centers, civic spaces, and campuses.
    [Show full text]
  • NEA Chronology Final
    THE NATIONAL ENDOWMENT FOR THE ARTS 1965 2000 A BRIEF CHRONOLOGY OF FEDERAL SUPPORT FOR THE ARTS President Johnson signs the National Foundation on the Arts and the Humanities Act, establishing the National Endowment for the Arts and the National Endowment for the Humanities, on September 29, 1965. Foreword he National Foundation on the Arts and the Humanities Act The thirty-five year public investment in the arts has paid tremen­ Twas passed by Congress and signed into law by President dous dividends. Since 1965, the Endowment has awarded more Johnson in 1965. It states, “While no government can call a great than 111,000 grants to arts organizations and artists in all 50 states artist or scholar into existence, it is necessary and appropriate for and the six U.S. jurisdictions. The number of state and jurisdic­ the Federal Government to help create and sustain not only a tional arts agencies has grown from 5 to 56. Local arts agencies climate encouraging freedom of thought, imagination, and now number over 4,000 – up from 400. Nonprofit theaters have inquiry, but also the material conditions facilitating the release of grown from 56 to 340, symphony orchestras have nearly doubled this creative talent.” On September 29 of that year, the National in number from 980 to 1,800, opera companies have multiplied Endowment for the Arts – a new public agency dedicated to from 27 to 113, and now there are 18 times as many dance com­ strengthening the artistic life of this country – was created. panies as there were in 1965.
    [Show full text]
  • MESSENGER SUMMER 2014 a Publication for in This Issue of the Avery Messenger, We Celebrate the Very First Statue of an African American in Charleston, SC
    AVERY MESSENGER SUMMER 2014 A PUBLICATION FOR In this issue of the Avery Messenger, we celebrate the very first statue of an African American in Charleston, SC. This monument of African-American icon A Publication of the Denmark Vesey (circa 1767–July 2, 1822) is not only historical, but it is also a powerful show of remembrance. It will no doubt AVERY RESEARCH CENTER encourage further dialogue about slavery, freedom, race, FOR AFRICAN AMERICAN HISTORY AND CULTURE heroism, resistance, and justice. College of Charleston 125 Bull Street • Charleston, SC 29424 Ph: 843.953.7609 • Fax: 843.953.7607 The cover image is a tight head shot in profile of the Archives: 843.953.7608 monument. Photograph by Ramona LaRoche avery.cofc.edu Website: http://www.gullahgal.com/ AVERY INSTITUTE OF AFRO-AMERICAN HISTORY AND CULTURE P.O. Box 21492 • Charleston, SC 29413 Ph: 843.953.7609 • Fax: 843.953.7607 www.averyinstitute.us The bronze sculpture of STAFF Denmark Vesey is 7 feet high, Patricia Williams Lessane, Executive Director and weighs 400 pounds. Vesey Mary Battle, Public Historian is shown holding his carpentry Curtis J. Franks, Curator; Coordinator of Public bag with tools, his hat and his Programs and Facilities Manager Bible. Savannah Frierson, Administrative Assistant Shelia Harrell-Roye, Education Outreach Coordinator Georgette Mayo, Processing Archivist The granite Vesey pedestal is Aaron Spelbring, Manager of Archival Services 44 ¾ inches square x 59 inches Deborah Wright, Associate Director high, and weighs 1800 pounds. AVERY MESSENGER The pedestal is inscribed on Deborah Wright, Editor; Layout, Design two sides with biographical Savannah Frierson, Copy Editor and historical information Avery Research Center Staff, Contributors about Denmark Vesey and the Printed by Nelson Printing conspiracy.
    [Show full text]