Beauford Delaney & James Baldwin
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James Baldwin As a Writer of Short Fiction: an Evaluation
JAMES BALDWIN AS A WRITER OF SHORT FICTION: AN EVALUATION dayton G. Holloway A Dissertation Submitted to the Graduate School of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1975 618208 ii Abstract Well known as a brilliant essayist and gifted novelist, James Baldwin has received little critical attention as short story writer. This dissertation analyzes his short fiction, concentrating on character, theme and technique, with some attention to biographical parallels. The first three chapters establish a background for the analysis and criticism sections. Chapter 1 provides a biographi cal sketch and places each story in relation to Baldwin's novels, plays and essays. Chapter 2 summarizes the author's theory of fiction and presents his image of the creative writer. Chapter 3 surveys critical opinions to determine Baldwin's reputation as an artist. The survey concludes that the author is a superior essayist, but is uneven as a creator of imaginative literature. Critics, in general, have not judged Baldwin's fiction by his own aesthetic criteria. The next three chapters provide a close thematic analysis of Baldwin's short stories. Chapter 4 discusses "The Rockpile," "The Outing," "Roy's Wound," and "The Death of the Prophet," a Bi 1 dungsroman about the tension and ambivalence between a black minister-father and his sons. In contrast, Chapter 5 treats the theme of affection between white fathers and sons and their ambivalence toward social outcasts—the white homosexual and black demonstrator—in "The Man Child" and "Going to Meet the Man." Chapter 6 explores the theme of escape from the black community and the conseauences of estrangement and identity crises in "Previous Condition," "Sonny's Blues," "Come Out the Wilderness" and "This Morning, This Evening, So Soon." The last chapter attempts to apply Baldwin's aesthetic principles to his short fiction. -
Spring/Summer 2012 the Newsletter of the Department Loupe of Art and Art History Art.Ua.Edu/ | ANNUAL ALUMNI ISSUE
Keeping you in... Spring/Summer 2012 The newsletter of the Department Loupe of Art and Art History art.ua.edu/ | www.facebook.com/Uaart ANNUAL ALUMNI ISSUE STUDENT SPOTLIGHTS Fourth annual emerging artists exhibit at the Coastal arts Center of Orange Beach from May through July. Juli Jordan, Ua art http://art.ua.edu/site/resources/loupe/student-news/ alumnus and Visiting artists and Special exhibits administrator Ben Bailey, the department’s nominee for the arrowmont said,“The idea is to offer an opportunity School of arts and Crafts scholarship, won the award and for graduating visual arts students to will spend his summer in the Smokies! exhibit and sell their work dur- ing the peak season. it’s also an Graduate student MaRK BaRRy opportunity for the community won Best Sculpture in the Brook- and visitors to see what is lyn Waterfront artists Coalition emerging from our colleges (BWaC) third national juried and universities.” Craft sold art exhibition, Wide Open 3, all his work on display at the for his work, “Give and Take.” exhibit. Juror was Charlotta Kotik, Cura- tor emerita of Contemporary art BFa major JaCOB DaViDSOn was at the Brooklyn Museum of art. The named Full Moon emerging artist at show ran March 18 - april 1 in BWaC’s Kentuck in December 2011. He presented a solo exhibition of massive Civil War-era warehouse on the Red prints of his character, “Toaster Boy,” in the Georgine Clarke Hook waterfront in Brooklyn, ny. See more of Barry’s work here: Building. Davidson explained, “‘Toaster Boy’ and his contempo- http://art.subata.com/. -
Dystopian America in Revolutionary Road and 'Sonny's Blues'
Dystopian America in Revolutionary Road and ‘Sonny’s Blues’ Kate Garrow America as a nation is often associated with values of freedom, nationalism, and the optimistic pursuit of dreams. However, in Revolutionary Road1 by Richard Yates and ‘Sonny’s Blues’2 by James Baldwin, the authors display a pessimistic view of America as a land characterised by suffering and entrapment, supporting the view of literary critic Leslie Fiedler that American literature is one ‘of darkness and the grotesque’.3 Through the contrasting communities of white middle-class suburbia and Harlem, the authors depict a dystopian America, where characters are stripped of their agency and forced to rely on illusions, false appearances, or escape in order to survive. Both ‘Sonny’s Blues’ and Revolutionary Road confirm that despite America’s appearance as ‘a land of light and affirmation’,4 it hides a much darker reality. Both Yates and Baldwin use characteristics of dystopian literature to create their respective American societies. Revolutionary Road is set in a white middle-class suburban society fuelled by materialism and false appearances. In particular, the community demands conformity. Men must succumb to a bland office job that ‘would swallow them up’5 and 1 R. Yates, Revolutionary Road, London, Random House, 2007. 2 A. Baldwin, ‘Sonny’s Blues’, in Going to Meet the Man, Knopf Doubleday Publishing Group, 2013. 3 L. Fiedler, Love and Death in the American Novel, Stein and Day, 1960, p. 29. 4 Fiedler, p. 29. 5 Yates, Revolutionary Road, p. 119. Burgmann Journal VI (2017) women must accept the feminine role as submissive housewife. -
Contemporary American Painting and Sculpture
AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J. -
Al Sella Reaping His Rewards Welcome Back!
Keeping you in... The newsletter of the Department of Art and Art History Box 870270 Tuscaloosa, Alabama http://art.ua.edu The Loupe is the newsletter of the DepartmentThe of Art and Art History,Loupe a NASAD-accred ited department in The University of Alabama’s College of Arts and Sciences, published in the fall, spring, and summer semesters. Fall 2009 Please send correspondence to Rachel Dobson, Visual Resources Curator, [email protected]. AL SELLA REAPING HIS REWARDS WELCOME BACK! Alvin Sella, professor emeritus of Welcome to all our students, faculty, and staff, new painting, received two awards this and returning. New graduate students in art history spring recognizing his long and distin- are Emi Arnold, Mary Benefield, Christopher Lang- guished career in art and teaching. In ley, Brandi Moore, and Angela Scott. New incoming April, the Arts Council of Tuscaloosa graduate students in studio art are Amy Feger and presented him with the Druid Arts Aynslee Moon. Please also welcome our new art Award - his second from them - in the history instructor, Jenny Blount, who received her visual artist category. To paraphrase MA from UAB in the spring, and is taking Mary Anna the criteria, the award recognized Brown’s place. the quality of his body of work, his Welcome to our new studio faculty! Chris Jordan, contributions to his community and our new digital media professor, comes from Sage to his art form, and the recognition College in Albany, New York. Besides teaching, he he has brought to the arts in Tusca- is owner of Jordan Photographic and cofounder of loosa County. -
I Am Not Your Negro
Magnolia Pictures and Amazon Studios Velvet Film, Inc., Velvet Film, Artémis Productions, Close Up Films In coproduction with ARTE France, Independent Television Service (ITVS) with funding provided by Corporation for Public Broadcasting (CPB), RTS Radio Télévision Suisse, RTBF (Télévision belge), Shelter Prod With the support of Centre National du Cinéma et de l’Image Animée, MEDIA Programme of the European Union, Sundance Institute Documentary Film Program, National Black Programming Consortium (NBPC), Cinereach, PROCIREP – Société des Producteurs, ANGOA, Taxshelter.be, ING, Tax Shelter Incentive of the Federal Government of Belgium, Cinéforom, Loterie Romande Presents I AM NOT YOUR NEGRO A film by Raoul Peck From the writings of James Baldwin Cast: Samuel L. Jackson 93 minutes Winner Best Documentary – Los Angeles Film Critics Association Winner Best Writing - IDA Creative Recognition Award Four Festival Audience Awards – Toronto, Hamptons, Philadelphia, Chicago Two IDA Documentary Awards Nominations – Including Best Feature Five Cinema Eye Honors Award Nominations – Including Outstanding Achievement in Nonfiction Feature Filmmaking and Direction Best Documentary Nomination – Film Independent Spirit Awards Best Documentary Nomination – Gotham Awards Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: Arianne Ayers Ryan Werner Rene Ridinger George Nicholis Emilie Spiegel Shelby Kimlick Magnolia Pictures Cinetic Media MPRM Communications (212) 924-6701 phone [email protected] [email protected] [email protected] [email protected] [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS In 1979, James Baldwin wrote a letter to his literary agent describing his next project, Remember This House. -
Tarble Arts Center Newsletter July 1988 Tarble Arts Center
Eastern Illinois University The Keep Tarble Arts Center Newsletter Tarble Arts Center 7-1-1988 Tarble Arts Center Newsletter July 1988 Tarble Arts Center Follow this and additional works at: http://thekeep.eiu.edu/tarble_newsletter Recommended Citation Tarble Arts Center, "Tarble Arts Center Newsletter July 1988" (1988). Tarble Arts Center Newsletter. 7. http://thekeep.eiu.edu/tarble_newsletter/7 This Article is brought to you for free and open access by the Tarble Arts Center at The Keep. It has been accepted for inclusion in Tarble Arts Center Newsletter by an authorized administrator of The Keep. For more information, please contact [email protected]. TARBLE ARTS CENTER . ·" ~i~~\li, . ~ mmDODUIIIIII ~IDDIIIIIIIIIIIlllitlhDUIQIDII J Newsletter July 198.8 EXHIBITIONS WORKS ON PAPER: SELECTIONS FROM THE PERMANENT COLLECTION -- through July 17, Main Galleries This exhibition of original prints and watercolors was selected from the Tarble Arts Center's permanent collection, and, with a few exceptions, presents works which have not been exhibited for a number of years. Recent past exhibitions from the collection have focused on specific artists (Paul T. Sargent, Herbert Fink), movements (American Scene prints), suites (Fred Jones' "A Midwest Portfolio"),· or other special collections (Folk Arts, Plucked Chicken Press prints). This exhibition draws on works which share the same supporting. medium as a means to highlight works which, in most cases, are not part of developed collection sub-divisions, but play a meaningful role in the building of a teaching collection. The pieces displayed range fro~ exemplary works produced by students when completing their masters degrees in Art at EIU, such as "Fins" by Nancy Graham and "Fat Tuesday" by Gary Kott, to minor works by major artists, like the lithographs by Marcel Duchamp/Jaques Villon and Jasper Johns. -
Perched in Potential: Mobility, Liminality, and Blues Aesthetics
PERCHED IN POTENTIAL: MOBILITY, LIMINALITY, AND BLUES AESTHETICS IN THE WRITINGS OF JAMES BALDWIN by TAREVA LESELLE JOHNSON (Under the Direction of Valerie Babb) ABSTRACT James Baldwin’s mobility and appreciation for African American musical traditions play an integral part in the writer’s crossing of genre and subgenre, his unique style, and his preoccupation with repeated themes. The interplay of music and shifting space in Baldwin’s life and texts create liminal spaces for Baldwin and readers to enter. In these spaces, clearer understandings of the importance of exteriority and interiority, simultaneously, are achieved. This in-betweenness is a place of potential and power. Baldwin’s writing uses this power to chronicle his own growing consciousness and to create, with his collective works, and through them, Baldwininan literary theory that applies to his own works’ use of liminality, the blues and travel. One is able to overhear Baldwin speaking to himself via his texts at multiple points in his nearly forty-year career. INDEX WORDS: James Baldwin, Transatlantic, Liminal, Mobility, Blues, African American, Go Tell It on the Mountain, The Amen Corner, Sonny’s Blues, The Uses of the Blues, Paris, Turkey, Exile PERCHED IN POTENTIAL: MOBILITY, LIMINALITY, AND BLUES AESTHETICS IN THE WRITINGS OF JAMES BALDWIN by TAREVA LESELLE JOHNSON B.A., COLUMBIA UNIVERSITY, 2008 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2012 © 2012 Tareva Leselle Johnson All Rights Reserved PERCHED IN POTENTIAL: MOBILITY, LIMINALITY, AND BLUES AESTHETICS IN THE WRITINGS OF JAMES BALDWIN by TAREVA LESELLE JOHNSON Major Professor: Valerie Babb Committee: Cody Marrs Barbara McCaskill Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2012 iv DEDICATION I dedicate this project to my brother, Jerome, and everyone else who makes their way back time and time again. -
Portraits and Presence African American Artists in the Collection of the Chrysler Museum of Art
EDUCATOR GUIDE Portraits and Presence African American Artists in the Collection of the Chrysler Museum of Art Beverly Buchanan (American, 1940–2015), Three Families (A Memorial Piece with Scars), 1989, Wood with paint, charcoal, and metal, Gift of David Henry Jacobs, Jr. ©Beverly Buchanan, 99.29.1 ABOUT THIS GUIDE Portraits and Presence is a multidisciplinary companion for college-level educators interested in engaging their students in exploring African American artists in the collection of the Chrysler Museum of Art. This guide ofers a range of learning objectives and content to stimulate critical thinking, encourage dialogue, and foster understanding of the art presented. Educators should glean from this guide what is most relevant and useful to their students. Vocabulary words that appear in bold are defined at the end of the guide. ABOUT THE CHRYSLER The Chrysler Museum has fifty galleries, a growing collection of more than 30,000 objects, an interactive space for families, and the only glass studio of its kind in the Mid-Atlantic region. Best of all, admission is free. INTERDISCIPLINARY African American and African Studies, American Studies, Art, Art Education, CONNECTIONS Art History, Communications, Creative Writing, Education, History, Psychology, Sociology LEARNING OBJECTIVES 1. Students will consider the role of portraiture in giving the subject agency. 2. Students will discuss identity politics and the power relationship between the artist and the subject. 3. Students will analyze compositional choices made by the artists to convey their message. BACKGROUND Why do artists create portraits? Who do portraits commemorate? What do they tell us about the time when they were created? Use the examples below from the Chrysler Museum’s collection to consider these questions and more. -
Press Release Template
COMMUNICATIONS & MARKETING VIRGINIA MUSEUM OF FINE ARTS 200 N. Boulevard I Richmond, Virginia 23220-4007 www.vmfa.museum/pressroom I T 804.204.2704 Art Acquisitions December 9, 2010 Purchases 1. John White Alexander (American, 1856-1915), Portrait Study in Pink (The Pink Gown), 1896, oil on canvas, 75 x 35½ inches, Signed and dated, lower right: J.W. Alexander ’96. The J. Harwood and Louise B. Cochrane Fund for American Art and Partial Gift of Juliana Terian Gilbert, 2010.111. This striking and monumental picture by John White Alexander, one of the leading figurative painters working in Paris at the turn of the 20th century, represents VMFA‘s first major acquisition of this premier genre of the period. Portrait Study in Pink is also a classic example of the artist‘s 1890s style and subject matter—a full- length image of an unidentified young woman in an elegant interior, painted in a subtle, tonal color scheme. The painting reveals the indelible influence of the famed expatriate James McNeill Whistler on a generation of American painters. French critics, especially, noted Alexander‘s artistic debt to Whistler, including his adoption of the technique of allowing the coarse weave of a canvas to reveal itself in a composition. Throughout the 1890s, Alexander produced works that shared this particular tonal ―staining‖ and textural quality with Whistler, while imbuing his compositions with less severe, sinuous grace—a practice that defined Alexander for many as the so-called painter of the flowing line. Like many of his colleagues, Alexander sent his paintings to avant-garde exhibitions throughout Europe; Portrait Study in Pink was seen in Paris, Copenhagen, and Vienna. -
James Baldwin's Radicalism and the Evolution of His Thought on Israel
ESSAY “The Shape of the Wrath to Come”: James Baldwin’s Radicalism and the Evolution of His Thought on Israel Nadia Alahmed Dickinson College Abstract This article traces the evolution of James Baldwin’s discourse on the Arab–Israeli conflict as connected to his own evolution as a Black thinker, activist, and author. It creates a nuanced trajectory of the transformation of Baldwin’s thought on the Arab–Israeli conflict and Black and Jewish relations in the U.S. This trajectory is created through the lens of Baldwin’s relationship with some of the major radical Black movements and organizations of the twentieth century: Malcolm X, Elijah Muhammad and the Nation of Islam, and, finally, the Black Power movement, espe- cially the Black Panther Party. Using Baldwin as an example, the article displays the Arab–Israeli conflict as a terrain Black radicals used to articulate their visions of the nature of Black oppression in the U.S., strategies of resistance, the meaning of Black liberation, and articulations of Black identity. It argues that the study of Baldwin’s transformation from a supporter of the Zionist project of nation-building to an advocate of Palestinian rights and national aspirations reveals much about the ideological transformations of the larger Black liberation movement. Keywords: James Baldwin, Palestine, Israel, Black radicalism, Malcolm X, Elijah Muhammad, Nation of Islam, Black Power I think black people have always felt this about America, and Americans, and have always seen, spinning above the thoughtless American head, the shape of the wrath to come. James Baldwin, No Name in the Street1 As the state of Israel was established in 1948, James Baldwin felt the urge to flee America. -
Beauford Delaney Brown Bag Lecture by Stephen Wicks
For Immediate Release Press Contact: Cherel Henderson, Director 865-215-8823 | 865-933-5232 [email protected] February 10, 2016 The Art of Beauford Delaney Brown Bag Lecture by Stephen Wicks PROGRAM: The Art of Beauford Delaney, a Brown Bag Lecture by Stephen Wicks DATE: Wednesday, February 24, 2016 at noon. LOCATION: East Tennessee History Center 601 South Gay Street Knoxville, TN 37902 ADMISSION: FREE | Attendees are encouraged to bring a “brown bag” lunch (Knoxville, TN) In a Brown Bag Lecture on February 24, Stephen Wicks, curator at the Knoxville Museum of Art, will explore the legacy of painter Beauford Delaney, one of the country’s most significant African American modernists. Born in Knoxville in 1901, Delaney went from sketching on Sunday school cards to formal lessons with Knoxville’s Lloyd Branson to joining the artistic revolution in Harlem, New York. From 1953 until his 1979 death he lived in Paris, where his artistic focus shifted from depictions of city life to abstract expressionism. While you are at ETHS for the program, we invite you to view the watercolor painting by Delaney in the museum’s current exhibition, Celebrating a Life in Tennessee Art: Lloyd Branson 1853-1925 . Stephen Wicks has guided the Knoxville Museum of Art’s curatorial department for more than 20 years. He has organized dozens of exhibitions, including Higher Ground: A Century of the Visual Arts in East Tennessee , Awakening the Spirits , Facets of Modern and Contemporary Glass , and New Directions in American Drawing . He previously served as Curator of Collections and Exhibitions at the Columbus Museum in Georgia, and is active as a guest curator, juror, lecturer and writer.