The New Americanist

Total Page:16

File Type:pdf, Size:1020Kb

The New Americanist The New Americanist Volume One / Number One Fall 2018 American Studies Center University of Warsaw Editor Matthew Chambers Editorial Team Agnieszka Kotwasinska Karolina Krasuska Advisory Board Paulina Ambrozy, Adam Mickiewicz University Caren Kaplan, UC Davis Charlotte Beyer, University of Gloucestershire Laleh Khalili, SOAS University of London Christopher Breu, Illinois State University Alex Lubin, University of New Mexico Lori Emerson, University of Colorado Boulder Josephine Metcalf, University of Hull Keith P. Feldman, UC Berkeley Małgorzata Myk, University of Łódź Dominika Ferens, University of Wroclaw Andrew Pepper, Queen’s University Belfast Pawel Frelik, Maria Curie Sklodowska Benjamin Railton, Fitchburg State University University Caroline Rody, University of Virginia Steffen Hantke,Sogang University Laurence Roth, Susquehanna University Christina Heatherton, Barnard College David Schmid, SUNY Buffalo Tim Jelfs, University of Groningen Jonathan Silverman, UMass Lowell Reece Jones, University of Hawaii Roberto Tejada, University of Houston Daniel Kane, University of Sussex Marek Wilczynski, University of Gdansk Amy Kaplan, University of Pennsylvania Richard Yarborough, UCLA Design Rafal Benedek and Filip Zagórski, Type2 Typesetting Andrzej Zawadzki Printer Sowa Sp. z o.o ISSN 2545-3556 Copyright @ American Studies Center, Warsaw 2018 The New Americanist American Studies Center Al. Niepodległości 22 02-653 Warsaw POLAND [email protected] newamericanist.com Submissions The New Americanist is an interdisciplinary journal publishing scholarly work on the United States and the Americas broadly considered. We are especially interested in work which includes a global perspective, introduces new critical approaches, and proposes theoretical frameworks to the study of the US. We welcome contributions from scholars from around the world and across the humanities and the social sciences. If you are interested in contributing, please submit a 350-word abstract and 200-word biographical note to [email protected]. Completed articles of a 6000-8000 word length based on accepted abstracts will be subjected to peer review. The New Americanist comes out twice yearly in association with the American Studies Center, University of Warsaw. Please submit previously unpublished work only. All submissions will be subject to a double-blind peer review. The New Americanist is always seeking book reviews and commentary. Please contact us if you are interested in contributing. Printed in 200 copies TABLE OF CONTENTS 5 Editor’s Introduction 9 Alessandro Porco The Life and Art of Mary Parks Washington 51 Elspeth Iralu Transnational American Studies as Contrapuntal Methodology 71 Rikki Bettinger “Exceedingly Neat and Clean”: Household Management in North Atlantic Women’s Travel Writings, 1800-1850 97 Ryan Crawford Moby-Dick, American Studies, and the Aesthetic Education of Man 123 Maarten Arnoldus (Do Not) Read the Comments: Mr. Robot and the Limits of Critique in an Age of Narrative Excess 149 Christina Riley How the Women’s March Happened, Or, Adventures in Digital and Material Feminist Solidarity 175 “Americanists in Unexpected Places”: An Interview with George Blaustein, author of Nightmare Envy and Other Stories: American Culture and European Reconstruction 187 Book reviews 225 Contributors 227 American Studies Center Report: Jack Halberstam Editor’s Introduction I. The New Americanist is an interdisciplinary, peer-reviewed journal which, in association with the American Studies Center at the University of Warsaw, publishes scholarly work on the United States and the Americas broadly considered. The journal continues a tradition at the American Studies Center of promoting international scholarship previ- ously under the titles American Studies (1983–2005) and The Americanist (2006–2014). The New Americanist, then, is a relaunch of a long-running ASC institution. We would like to thank ASC director Gregorz Kość for initiating and sponsoring this venture and William Glass for giving us our initial bearings. A special mention goes to Karolina Krasuska for all the otherwise uncredited guidance and feedback. We would also like to thank our wonderful advisory board for their time and assistance, as well as their commitment to this fledgling endeav- our. In particular, we would like to acknowledge David Schmid, Laleh Khalili, and Benjamin Railton for helping us get the ball rolling. II. The New Americanist will be released biannually–in the fall and spring– and in addition to peer-reviewed scholarship, will publish book reviews, interviews, updates on significant ASC events, and other short features. The New AmericanisT 01/2018 6 Beginning with our third issue (Fall 2019), we will periodically run special feature sections with the first being “Hobgoblins of Fantasy: American Fantasy Fiction in Theory” guest edited by James Gifford and Orion Kidder. We commit ourselves to the highest standard in publication ethics. The New Americanist publishes only original scholarship which has been subject to double-blind peer review. We have a strict policy against plagia- rism and defamation, and we seek editorial best practices, including fair editing, avoiding conflicts of interest, and the assurance of confidentiality for submitted work. III. Our first issue contains a great variety of topics, but one question does return at moments: what is it we say we do, when we say we do American Studies? Our interview with George Blaustein, the author of Nightmare Envy & Other Stories: American Culture and European Reconstruction (2018), goes some distance in attempting to answer that question histor- ically and in our present circumstances. Ryan Crawford’s “Moby‑Dick, American Studies and the Aesthetic Education of Man,” which focuses on the history of the book’s reception, touches on some similar concerns raised in the interview: in particular, their own various attitudes for the lost significance of F.O. Matthiessen’sAmerican Renaissance and the role of an ideological nationalism at the heart of the early disciplinary devel- opment of American Studies. But rather than settle the question of what we are doing, The New Americanist aims to point that question outward as a productive challenge. This issue, then, opens with Alessandro Porco who, quoting Nathaniel Mackey, argues for the importance of “discrepant engagement,” or the “het- erogeneity and mix” which works against “totalizing paradigms.” In Porco’s “The Life and Art of Mary Parks Washington,” an exhaustively researched but highly readable essay, he recovers the career of a vital African American artist marginalized by more standard accounts of Black Mountain College or the Black Arts Movement, in both of which she was involved. Elspeth Iralu argues for a similar conceptualization for transnational American Studies, using Edward Said’s notion of contrapuntalism, setting together four texts by Lisa Lowe, Keith Feldman, Alex Lubin, and Vijay Prishad, to challenge self-contented conceptualizations of what is possible for the discipline. In that vein, there is Maarten Arnoldus’s analysis of the failed promise of the counter-hegemonic in Mr. Robot as discerned from a review IntroducTioN 7 of A.V. Club viewer comments in his “(Do Not) Read the Comments: Mr. Robot and the Limits of Critique in an Age of Narrative Excess.” Another archival-based project included in this issue focuses on wom- en’s travel writings. Rikki Bettinger, in ““Exceedingly Neat and Clean”: Household Management in North Atlantic Women’s Travel Writings, 1800–1850,” uses the journals of four women travelers across four geo- graphically distinct areas in the first half of the nineteenth century in order to demonstrate ideological and social links across the Americas during this period, as well as, in her words, demonstrate “the ways in which the women were transmitters of a racialized and gendered hierar- chy.” Moving from the nineteenth century to the present day, Christina Riley’s “How the Women’s March Happened, or, Adventures in Digital and Material Feminist Solidarity,” details the build up and organization of the 2017 Women’s March in order to analyze how race-based, but also geographical, economic, and ableism issues interpenetrated to shape what proved to be a massive grassroots campaign. Riley’s focus on Facebook as the medium through which most of these concerns played out is also es- pecially timely as the platform has been at the center of controversies over the 2016 election and privacy issues. The New Americanist will also strive to provide a fulsome book re- view section, as we believe an important function of an academic journal is to not only evaluate and discern, but also disseminate and promote. We are especially delighted to have reviews by Laleh Khalili on Caren Kaplan’s Aerial Aftermaths: Wartime from Above (2017), Dani Spinosa on Safiya Umoja Noble’sAlgorithms of Oppression: How Search Engines Reinforce Racism (2017), and many more. We hope to present reviews on a diverse range of topics, and we are always open to suggestions and contributions. Finally, The New Americanist will run a backpage feature every is- sue detailing a recent event at the ASC. In this issue, we have a report by Jedrzej Burszta on Jack Halberstam’s December 2017 visit to the ASC. The New Americanist announces calls for papers for every issue, but we welcome abstract proposals at any time. Please submit a 350-word abstract and 200-word biographical note to newamericanistjournal@ gmail.com. The Life and Art of Mary Parks
Recommended publications
  • FCJ-170 Challenging Hate Speech with Facebook Flarf: the Role of User Practices in Regulating Hate Speech on Facebook
    The Fibreculture Journal issn: 1449-1443 DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE issue 23: General Issue 2014 FCJ-170 Challenging Hate Speech With Facebook Flarf: The Role of User Practices in Regulating Hate Speech on Facebook. Benjamin Abraham University of Western Sydney Abstract: This article makes a case study of ‘flarfing’ (a creative Facebook user practice with roots in found-text poetry) in order to contribute to an understanding of the potentials and limitations facing users of online social networking sites who wish to address the issue of online hate speech. The practice of ‘flarfing’ involves users posting ‘blue text’ hyperlinked Facebook page names into status updates and comment threads. Facebook flarf sends a visible, though often non-literal, message to offenders and onlookers about what kinds of speech the responding activist(s) find (un)acceptable in online discussion, belonging to a category of agonistic online activism that repurposes the tools of internet trolling for activist ends. I argue this practice represents users attempting to ‘take responsibility’ for the culture of online spaces they inhabit, promoting intolerance to hate speech online. Careful consideration of the limits of flarf’s efficacy within Facebook’s specific regulatory environment shows the extent to which this practice and similar responses to online hate speech are constrained by the platforms on which they exist. 47 FCJ-170 fibreculturejournal.org FCJ-170 Challenging Hate Speech With Facebook Flarf Introduction A recent spate of high profile cases of online abuse has raised awareness of the amount, volume and regularity of abuse and hate speech that women and minorities routinely attract online.
    [Show full text]
  • American Renaissance Art January 26 Through March 16, 2013
    ANITA SHAPOLSKY GALLERY 152 East 65TH Street New York, NY 10065 212-452-1094 FAX: 212-452-1096 For Immediate Release: The Anita Shapolsky Gallery will present an exhibition, American Renaissance Art January 26 through March 16, 2013. Reception: Saturday, January 26, 3-6 PM. The American Abstract Art movement was the epiphany of the individual. He was the center of the painting-of his universe. The art of the Abstract Expressionists is timeless, as has been proven by the auction world since the 50's. There are other styles and movements, but none that can compare. James Dinerstein. A New York native, Dinerstein graduated from Harvard. He studied with art historian and critic Michael Fried. He worked at St. Martin's Art School in London with sculptors Anthony Caro and William Tucker. Dinerstein aims to restore the resources of plasticity and mass while manifesting the spiritual potency of Greek antiquity and musical polyphony. His recent work is more organic, primal, and overtly sensuous as it emerges from a deeper and freer source. Amaranth Ehrenhalt. After 38 years in France and Italy, Ehrenhalt returned New York in 2008. In N.Y. during the 50's she was friendly with Al Held, Ronald Bladen, and Willem de Kooning. She has exhibited with Sam Francis, Joan Mitchell, Shirley Jaffe and others in Paris. Ehrenhalt's work expands beyond the canvas to include drawings, prints, watercolors, tapestries, mosaics, murals, sculptures, poetry, prose and more. In order to experience the surprises and treasures of Ehrenhalt’s art, it must be seen and digested by the viewer.
    [Show full text]
  • Spam As the Inheritor of High Modernism
    forty-five.com / papers /22 W@r aga1nst the F1lters: Spam as the Inheritor of High Modernism Octavian Esanu For some time, I have been captivated by a form of writing Reviewed by David Gissen that has been captivating my email inbox. Dictionaries define spam as intrusive, internet-mediated a d v e r t i s i n g — a d e fi n i t i o n w h o s e i n t e r e s t l i e s i nits s u g g e s t i o n o f h o w m u c h n o n - i n t r u s i v e a d v e r t i s i n g i s a l r e a d y a r o u n d u s . S p a m i s n o t l i k e t h i s a m b i e n t a d v e r t i s i n g , o f c o u r s e . I t i s p u r e i n t e n t i o n a l i t y . It resembles those bloodthirsty rainforest leeches with s u c k e r s a t b o t h e n d s t h a t w i l l g e t t o y o u r b l o o d n o m a t t e r h o w s a f e y o u m i g h t f e e l b e n e a t h l a y e r s o f p a n t s , s o c k s , a n d s n e a k e r s .
    [Show full text]
  • African American Art Holbrook Lauren South Dakota State University
    The Journal of Undergraduate Research Volume 6 Journal of Undergraduate Research, Volume Article 3 6: 2008 2008 Documented Struggles and Triumph: African American Art Holbrook Lauren South Dakota State University Follow this and additional works at: http://openprairie.sdstate.edu/jur Part of the African American Studies Commons, Art and Design Commons, and the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Lauren, Holbrook (2008) "Documented Struggles and Triumph: African American Art," The Journal of Undergraduate Research: Vol. 6, Article 3. Available at: http://openprairie.sdstate.edu/jur/vol6/iss1/3 This Article is brought to you for free and open access by Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. It has been accepted for inclusion in The ourJ nal of Undergraduate Research by an authorized administrator of Open PRAIRIE: Open Public Research Access Institutional Repository and Information Exchange. For more information, please contact [email protected]. GS019 JUR08_GS JUR text 11/18/09 8:53 AM Page 7 DOCUMENTED STRUGGLES AND TRIUMPH: AFRICAN AMERICAN ART 7 Documented Struggles and Triumph: African American Art (winner of a 2008 SDSU Schultz-Werth Award) Author: Holbrook Lauren Faculty Sponsor: Dr. Leda Cempellin Department: Visual Arts “I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow jail cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering.
    [Show full text]
  • Agenda Items Meeting of the Board of Regents
    Agenda Items Meeting of the Board of Regents September 1, 2016 REVISED 8/25/2016 AGENDA ITEMS MEETING OF THE BOARD OF REGENTS THE TEXAS A&M UNIVERSITY SYSTEM September 1, 2016 College Station, Texas 1. COMMITTEE ON FINANCE 1.1 Adoption of a Resolution Authorizing the Issuance of the Board of Regents of The Texas A&M University System Permanent University Fund Bonds, A&M System 1.2 Adoption of a Resolution Authorizing the Issuance of the Board of Regents of The Texas A&M University System Revenue Financing System Bonds, Series 20__, A&M System 2. COMMITTEE ON AUDIT 2.1 Approval of System Internal Audit Plan for Fiscal Year 2017, A&M System 3. COMMITTEE ON BUILDINGS AND PHYSICAL PLANT 3.1 Approval of System Capital Plan for FY 2017 – FY 2021, A&M System 3.2 Approval of the Project Scope and Budget, Appropriation for Pre-Construction and Construction Services, and Approval for Pre-Construction and Construction for the RELLIS Campus Infrastructure Project, The Texas A&M University System RELLIS Campus, Bryan, Texas (Project No. 01-3228) 3.3 Approval of the Project Scope and Budget, Appropriation for Construction Services, and Approval for Construction for the Joint Library Facility Module 2 Project, The Texas A&M University System RELLIS Campus, Bryan, Texas (Project No. 02-3193) 3.4 Approval of the Project Scope and Budget, Appropriation for Construction Services, and Approval for Construction for the McAllen Multipurpose Academic Building Project, Texas A&M University Higher Education Center, McAllen, Texas (Project No. 02-3212), Texas A&M 3.5 Approval of the Project Scope and Budget, Appropriation for Construction Services, and Approval for Construction for the Fabrication Center Project, Prairie View A&M University, Prairie View, Texas (Project No.
    [Show full text]
  • Perlow Lyric Ignorance
    LYRIC IGNORANCE: TECHNOLOGIES OF AMERICAN POETRY A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Seth Michael Perlow January 2013 © 2013 Seth Michael Perlow LYRIC IGNORANCE: TECHNOLOGIES OF AMERICAN POETRY Seth Michael Perlow, Ph.D. Cornell University 2013 This study argues that the rhetoric of ignorance has helped to define the lyric genre in US poetry and its criticism. It examines how differentiations between poetic thought and knowledge have informed recent responses to Emily Dickinson, Gertrude Stein, and Frank O’Hara—altering both their reputations as lyric poets and the material histories of their texts. Whereas new media scholars often link technology with rationality and information, “Lyric Ignorance” challenges critiques of the lyric by showing how textual equipment enables lyrical claims against knowledge. It thereby explores how the language of ignorance has informed the social and historical values of US lyric poetry in the postwar and contemporary periods. BIOGRAPHICAL SKETCH Seth Michael Perlow was raised in Atlanta, GA and attended college at Brown University, where he concentrated in Comparative Literature, earning an AB (2005) with Highest Honors and departmental honors. His undergraduate thesis, a translation of work by the Argentine poet Karina Macció, won the Rosalie Colie Prize in Comparative Literature. He then enrolled in the Master of Arts Program in the Humanities a the University of Chicago, earning an MA in Humanities (2006). A revision of his master’s thesis on Wallace Stevens’ early poetry, “The Other Harmonium: Toward a Minor Stevens,” appeared in The Wallace Stevens Journal 33.2 (Fall 2009).
    [Show full text]
  • Franklin C. Watkins by Andrew Carnduff Ritchie
    Franklin C. Watkins By Andrew Carnduff Ritchie Author Museum of Modern Art (New York, N.Y.) Date 1950 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/3265 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art LIBRARY THE MUSEUM ]OF MODERN ART Received: * > * irpr ii»i fi — — Franklin C. WATKINS Andrew Carnduft Ritchie The Museum of Modern Art New York ACKNOWLEDGMENTS On behalf of the President and Trustees of the Museum of Modern Art the director of the exhibition wishes to thank the collectors and museums whose generosity in lending has made the exhibition possible. Particular thanks are due to Mr. Henry P. Mellhenny for his great kindness in permitting us to borrow his two large paintings, Death and Resurrection , at no small incon venience to himself; to Mr. Frank K. M. Rehn, Mr. Watkins' dealer, for his assistance in connection with all the details of the exhibition; to the Maga zine of Art for permission to reprint excerpts from an article by Franklin C. Watkins; and to the artist himself who has been of inestimable help in the preparation of the catalog. I also wish to thank Miss Alice Bacon and Miss Margaret Miller for their assistance in preparing the exhibition and the catalog. ANDREW CAR N DUFF RITCHIE Director of the Exhibition TRUSTEES OF THE MUSEUM OF MODERN ART John Hay Whitney, Chairman of the Board ; Henry Allen Moe, ist Vice- Chairman; William A.
    [Show full text]
  • Digital Review Copy May Not Be Copied Or Reproduced Without Permission from the Museum of Contemporary Art Chicago
    DIGITAL REVIEW COPY MAY NOT BE COPIED OR REPRODUCED WITHOUT PERMISSION FROM THE MUSEUM OF CONTEMPORARY ART CHICAGO. HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Published by the Museum of Contemporary Art Chicago and DelMonico Books•Prestel NAOMI BECKWITH is Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago. VALERIE CASSEL OLIVER is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. ON THE JACKET Front: Untitled #4D (detail), 2009. Mixed media on paper collage; 7 × 10 in. Back: Timothy Greenfield-Sanders, Howardena Pindell from the series Art World, 1980. Gelatin silver print, edition 2/2; 13 3/4 × 10 3/8 in. The Museum of Fine Arts, Houston, Gift of Mr. and Mrs. Neil E. Kelley, 2006.867. © Timothy Greenfield-Sanders, All Rights Reserved. Courtesy of Hiram Butler Gallery. Printed in China HOWARDENA PINDELL WHAT REMAINS TO BE SEEN Edited by Naomi Beckwith and Valerie Cassel Oliver Museum of Contemporary Art Chicago DelMonico Books • Prestel Munich London New York CONTENTS 15 DIRECTOR’S FOREWORD Madeleine Grynsztejn 17 ACKNOWLEDGMENTS Naomi Beckwith Valerie Cassel Oliver 21 OPENING THOUGHTS Naomi Beckwith Valerie Cassel Oliver 31 CLEARLY SEEN: A CHRONOLOGY Sarah Cowan 53 SYNTHESIS AND INTEGRATION IN THE WORK Lowery Stokes Sims OF HOWARDENA PINDELL, 1972–1992: A (RE) CONSIDERATION 87 BODY OPTICS, OR HOWARDENA PINDELL’S Naomi Beckwith WAYS OF SEEING 109 THE TAO OF ABSTRACTION: Valerie Cassel Oliver PINDELL’S MEDITATIONS ON DRAWING 137 HOWARDENA PINDELL: Charles
    [Show full text]
  • Reconceiving the Actual in Digital Art and Poetry
    humanities Article Code and Substrate: Reconceiving the Actual in Digital Art and Poetry Burt Kimmelman Department of Humanities, New Jersey Institute of Technology, Newark, NJ 07102, USA; [email protected] Received: 12 December 2016; Accepted: 5 July 2017; Published: 14 July 2017 Abstract: The quality of digital poetry or art—not merely as contained within our aesthetic reaction to digitally expressive works but as well our intellectual grounding in them—suggests that the digital’s seemingly ephemeral character is an indication of its lack of an apparently material existence. While, aesthetically, the digital’s ephemerality lies in the very fact of the digitally artistic enterprise, the fact is that its material substrate is what makes the aesthetic pleasure we take in it possible. When we realize for ourselves the role played by this substrate, furthermore, a paradox looms up before us. The fact is that we both enjoy, and in some sense separately understand the artwork comprehensively and fully; we also allow ourselves to enter into an ongoing conversation about the nature of the physical world. This conversation is not insignificant for the world of art especially, inasmuch as art depends upon the actual materials of the world—even digital art—and, too, upon our physical engagement with the art. Digital poetry and art, whose dynamic demands the dissolution of the line that would otherwise distinguish one from the other, have brought the notion of embodiment to the fore of our considerations of them, and here is the charm, along with the paradoxical strength, of digital art and poetry: it is our physical participation in them that makes them fully come into being.
    [Show full text]
  • List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans
    List of Lenders: Collectors C.R. Babe Dr. and Mrs. William Bascom Hans Bhalla John Biggers Mr. and Mrs. Sidney F. Brody Dr. Selma Burke Calvin Burnett Prof. John Burrison Dr. Margaret T. Burroughs Claude Clark Mrs. Terry Dintenfass Prof. and Mrs. David C. Driskell Aaron Douglas William A. Fagaly Prof. Franklin Fenenga Dr. Norbert Fleisig Mr. and Mrs. H. Alan Frank Mr. and Mrs. Melvin Frank Dr. and Mrs. Richard Frates Lewis Glaser Leonard Granoff Mr. and Mrs. Earl Grant Mrs. Morton Goldsmith Mrs. Palmer Hayden Felrath Hines Mrs. Earl J. Hooks Mrs. Grace Jones George E. Jordan Lawrence H. Koffler Mr. and Mrs. Sol Koffler Dr. and Mrs. Charles H. Mandell Mrs. Delmus R. McGill Archibald J. Motley Jr. Matthew Pemberton Myla Levy Perkins Mr. and Mrs. Joseph L. Pierce Mr. and Mrs. William Pierce Dr. Lois Jones Pierre-Noel Dr. Dorothy B. Porter Mr. and Mrs. John Rhoden Louis K. Rimrodt Donald J. Shein Edward L. Shein Willie Starbuck William Taylor Robert H. Tessier Alma W. Thomas Mr. and Mrs. Peter H. Tillou Mr. and Mrs. R. K. Van Zandt Mr. and Mrs. Sid Wallach Mr. and Mrs. Frederick L. Weingeroff James L. Wells Mrs. Edwina Harleston Whitlock Mrs. Ora G.Williams Ed Wilson John Wilson Mrs. Julia Wilson Robert Wilson Institutions Angus Whyte Gallery, Boston The Art Institute of Chicago Brockman Gallery, Los Angeles Cincinnati Art Museum The Cleveland Museum of Art The Detroit Institute of Arts Terry Dintenfass, Inc., New York Fisk University, Department of Art, Nashville Frank Family Collection Frederick S. Wight Art Gallery, University of California, Los Angeles Golden State Mutual Life Insurance Company, The Afro-American Collection, Los Angeles Heritage Gallery, Los Angeles Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.
    [Show full text]
  • Oral History Interview with Jack Whitten, 2009 December 1-3
    Oral history interview with Jack Whitten, 2009 December 1-3 Funding for this interview was provided by the Terra Foundation for American Art. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a recorded interview with Jack Whitten on 2013 December 1 and 3. The interview took place in Woodside, N.Y., and was conducted by Judith Olch Richards for the Archives of American Art, Smithsonian Institution. Jack Whitten and Judith Olch Richards have reviewed the transcript. Jack Whitten's corrections and emendations appear below in brackets. This transcript has been lightly edited for readability by the Archives of American Art. The reader should bear in mind that they are reading a transcript of spoken, rather than written, prose. Interview JUDITH RICHARDS: This is Judith Richards interviewing Jack Whitten on December 1, 2009, at his studio in Woodside, Queens, New York, for the Archives of American Art, Smithsonian Institution, disc one. Jack, I'd like to start with your family, as far back as you want to go– it could be even your grandparents, if you have information about them, and then going on to your parents and yourself and your siblings. And then we'll focus on you again. JACK WHITTEN: Yes. My mom [as] Annie B. Whitten and my father was Mose Whitten. MS. RICHARDS: Annie – A-N-N-I-E? MR. WHITTEN: A-N-N-I-E. MS. RICHARDS: And B is – MR. WHITTEN: Belle. Annie Belle.
    [Show full text]
  • Textframe: Cosmopolitanism and Non-Exclusively Anglophone Poetries
    City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 TextFrame: Cosmopolitanism and Non-Exclusively Anglophone Poetries Michael N. Scharf The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3447 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] TextFrame: Cosmopolitanism and Non-Exclusively Anglophone Poetries by Michael Scharf A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2019 MICHAEL SCHARF, 2019 Attribution 4.0 International (CC BY-SA 4.0) ii TextFrame: Cosmopolitanism and Non-Exclusively Anglophone Poetries by Michael Scharf This manuscript has been read and accepted for the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ______________________ _________________________________________ Date Ammiel Alcalay Chair of Examining Committee ______________________ _________________________________________ Date Kandice Chuh Executive Officer Supervisory Committee: _________________________________________ Ammiel Alcalay __________________________________________ Matthew K. Gold __________________________________________
    [Show full text]