Memo to the Planning Commission PREVIOUS HEARING DATE: MAY 12, 2016
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Abstract Expressionism
Rehistoricizing the Time Around Abstract Expressionism i n t h e San Francisco Bay Area 1950s–1970s The electronic edition of this brochure is available for download as an Adobe PDF document: http://mariabonn.com/pub/electronicbrochure.pdf Acknowledgements go to Cultural Equity Grants for financial support and to the Luggage Store Gallery for aid in grant construction. Third Electronic Edition, 2006 Project Director Carlos Villa Editing & Design Maria Bonn Rehistoricizing the Time Around Abstract Expressionism in the San Francisco Bay Area, 1950s–1970s looks at this period in art history from the perspective of those who experienced it, through a series of interviews and a roundtable discussion conducted by Carlos Villa in 2005. We are documenting and archiving these conversations and making them, and the important issues that emerge, accessible for all. The material in this brochure serves as an introduction to a forthcoming printed publication. Electronic editions will be available for download through the Worlds in Collision web site http://www.usfca.edu/classes/worldsincollision/ and printed editions will be accessible from the Anne Bremer Memorial Library o f t h e San Francisco Art Institute . Our purpose is to ask what artists, issues, and historic exhibitions and publications surface when reviewing this period from a feminist and multicultural perspective. INtrodUctioN anonized art history identifies a set of “blue ribbon” artists C that have been the most studied, collected, and appreciated; these artists are, almost without exception, white and male. However, in recent decades, feminist and multicultural scholarship has identified thousands of women and persons of color that have contributed in equal measure as artists. -
Get Free PDF Version with 75 Illustrations
In the Black World By Thomas C. Fleming and Max Millard Published 2017 by Max Millard 1312 Jackson Street, #21 San Francisco, CA 94109 [email protected] ISBN 978-0-9662887-3-5 Copyright 2017 by Max Millard Dedicated to Jack Bair Cover photo of Thomas Fleming by Elizabeth H. Armstrong, 2006 Cover design by Eric E. Kirby TABLE OF CONTENTS The Southern Pacific.......................................146 Joining the Union............................................166 Bojangles........................................................172 Travels............................................................174 INTRODUCTION..................................................1 A Trip to Chicago............................................178 An Incident in Reno........................................184 JACKSONVILLE: 1907-1916.............................10 The Depression Begins...................................185 Vaudeville.........................................................15 Leaving the South.............................................18 THE DEPRESSION: 1932-1940........................189 Hoover and Roosevelt....................................189 HARLEM: 1916-19..............................................26 Surviving the Depression................................195 Black Entertainers.............................................28 Furthering My Education................................199 Life in Harlem...................................................34 Blacks in the Labor Movement.......................214 Black Professionals...........................................38 -
A Celebration of African-American Art and Artists 28 Greats a Celebration of African-American Art and Artists
28 Greats A Celebration of African-American Art and Artists 28 Greats A Celebration of African-American Art and Artists Brian Edward Hack, Ph.D. 28 Greats: KAM Celebrates African-American Art and Artists Hack, Brian Edward 2021 Kingsborough Art Museum Brooklyn, NY All images or artworks and individuals included for educational, nonprofit purposes only, under Section 107 of the Copyright Act. Cover: Robert S. Duncanson, Loch Long,1967. Oil on canvas, 19 1/2 x 33 inches. Indianapolis Museum of Art. 2 28 Greats A Celebration of African-American Art and Artists disapproved of her passion for sculpture, believing it an immoral occupation. Frequent beatings ensued. In 1921 she left Florida for New York, where her artistic talents won her a prize spot at Cooper Union. Nevertheless, her obstacles were many: her application for a government-sponsored summer program in France was refused on the basis of her race, an incident that made international news. Soon thereafter she was awarded the coveted Prix de Rome, (Rome Prize) but sadly had to turn it down when she was unable to secure travel and living expenses. Married three times, her marital life was equally tragic, as two of her husbands died young. She would keep the surname of her second husband, James Savage, throughout her career. A number of important commissions would follow, including portrait busts of African-American authors and civil rights leaders W.E.B. Du Bois, James Weldon Johnson, and Marcus Garvey. In the 1930s she founded the Savage Studio of Arts and Crafts; among her students were painters Jacob Lawrence and Gwendolyn Knight. -
Robert Colescott
Robert Colescott Robert H. Colescott, (August 26, 1925 — June 4, 2009) was an American painter. He Robert Colescott is known for satirical genre and crowd subjects, often conveying his exuberant, comical, or bitter reflections on being African-American. He studied with Fernand Léger in Paris. According to Askart.com and Artcyclopedia.com, his work is in many major public collections, including (in addition to the Albright-Knox) those of the Museum of Modern Art in New York, the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Museum of Fine Arts, Boston, the Hirshhorn Museum and Sculpture Garden, and the Baltimore Museum of Art. Contents Biography Teaching career Heartbreak Hotel (1990), oil on Early career canvas, Hirshhorn Museum and Sojourns in Egypt (1964-1967) Sculpture Garden Putting black people into art history Born August 26, 1925 First retrospective Oakland, California Venice Biennale Died June 4, 2009 (aged 83) Personal life Tucson Arizona See also Nationality American References Known for Genre works Bibliography Movement Surrealism External links Biography Colescott developed a deep love of music early on. His mother was a pianist and his father was an accomplished classical and jazz violinist. They moved from New Orleans to Oakland, California, where Colescott was born in 1925. He took up drumming at an early age and seriously considered pursuing a career as a musician before settling instead on art. The sculptor Sargent Claude Johnson was a family friend who was a role model to Colescott growing up. He was also a connection to the Harlem Renaissance and artwork dealing with African-American experience. -
Preventing Costly Cyberattacks with Stronger Algorithms
Journal of Black Innovation Special Tech Heritage Issue Fall 2017 Vol. 6, No. 7 May 2021 !1 yearly subscription $175 70 Years of Tech History © 2021 since 1947 for Roy L. Clay Sr. The Journal of Black DynaKrypt’s Dr. Frederick Foreman: Innovation Honorary Editor in Chief Preventing Costly Cyberattacks Roy L. Clay Sr. Jackie robinson of Silicon Valley withhigh Stronger technology Algorithms SPECIAL ISSUE FALL 2017 souloftechnology.com Former FAMU Professor is theSubscription Dr. $175 George yearly New stem cell trial Washington Carver of cybersecurity targets sickle cell Fighting vaccine From top left: Roy L. Clay Sr. at Rod-L Electronics, founded in 1977 celebrating its 40th year as an electronic test equipment manufacturer; nationalism with below, programming the HP 2116 in 1967 and as vice mayor of Palo Alto. Engineering Hall of Fame Scouting Sites African producers © 2017 Zenviba !1 All Rights Reserved Publisher Artist Malik Seneferu John William Templeton joins Publisher John Will Oakland learn Research Director William Templeton at Dr. Cheryl Bryant Bruce from its mistakes potential location for with sports teams Sargent Claude Johnson National Museum of African- FDA menthol ban American Art on SF could save 200,000 waterfront African-Americans iNSIDE: New discoveries on Table of Contents Sargent Johnson Publishers Page !2 © 2021 eAccess Corp. All Rights Reserved TABLE OF CONTENTS Publishers Page Page 3 DuBois Data Symposium Page 5 FAMU, NOAA promote earth science careers Page 5 Satcher returns to Charles Drew University Page 6 Charles Scott symposium at Howard medical Page 6 Senegal, Rwanda step up to make vaccines for Africa Page 8 Gullah/Geechee team with EPA Page 11 Granholm projects $23 trillion market for energy transformation Page 13 CIRM funds sickle cell trial Page 14 Building research equity at Stanford Page 16 Psychiatrist leader joins How to Do Equity Page 16 California Small Business Advocate Tara Lynn Gray Page 17 When will Oakland learn Page 19 THE CARVER OF CYBERSECURITY Dr. -
The Truisms of Robert Colescott by Lizzetta Lefalle- Collins July 22, 2013
Lefalle-Collins, Lizzetta. “The Truisms of Robert Colescott.” Black Renaissance Noire (Institute of African American Af- fairs at New York University), July 22, 2013. The Truisms of Robert Colescott by Lizzetta LeFalle- Collins July 22, 2013 In The Legacy of the Black Arts Movement, author Trey El- lis suggests that the New Breed of Black artists, writers and critics advanced a broad range of aesthetic positions that pointed to an awareness and acceptance of their “cultural mulatto” status and recognized their immersion in and in- debtedness to “a multi-racial mix of cultures.”[2] The New Breed Artists regularly employed popular culture as both a playground and a tool of empowerment, using highbrow and lowbrow references that were easily interpreted by all sectors of Black society. Ellis was particularly interested in the tensions these artists experienced between their com- peting desires to adhere to European and American aes- thetic norms and to present an alternative view of Ameri- cans whose heritage included a history of enslavement and miscegenation. This double consciousness often invited a collision between content and style, but sometimes, as in the work of Robert Colescott, this twin consciousness be- came inextricably intertwined as it informed form and ma- teriality. Though it would be a stretch to characterize Robert Cole- scott as an active member of the Black Arts Movement, his work certainly exemplifies the notion of double conscious- ness. Born in Oakland, California in 1925, Colescott was educated in the public schools there and then attended and graduated college from the University of California, Berke- ley. Colescott’s visual arts foundation took shape in the con- Beauty is in the Eye of the Beholder, 1979. -
Harlem Renaissance
Harlem Renaissance DOCENT/EDUCATOR RESOURCE GUIDE Harlem Renaissance Dates: February 5 – April 19, 2009 Organizer: The Oklahoma City Museum of Art Alison Amick, Exhibition Curator and Associate Curator, OKCMOA Source: 107 paintings, prints, photographs, and sculptures. Lending institutions include the Schomburg Center for Research in Black Culture, The New York Public Library; National Portrait Gallery, Washington, D.C.; National Gallery of Art, Washington, D.C.; Smithsonian American Art Museum, Washington, D.C.; The Metropolitan Museum of Art, New York; Museum of Modern Art, New York; among others. This exhibit includes works by artists such as Richmond Barthé, Aaron Douglas, Palmer Hayden, William H. Johnson, Malvin Gray Johnson, Jacob Lawrence, James VanDerZee, and others. Objective: This exhibition will: 1. Explore African American art of the 1920s, 1930s, and its lasting legacy. 2. Examine themes that developed and were explored during this period, including portraiture and portrait “types;” religion and folk culture; the South; African American history; and daily life. 3. Explore the diversity of influences upon the period, including European modernism, African art, African American culture, and history. 4. Explore the continuation of Harlem as a metaphorical “race capital” and the lasting legacy of the period of the Harlem Renaissance and Jazz Age. 5. Feature photographs highlighting Oklahoma City’s “Deep Deuce” and African American community during this period. 1 Harlem Renaissance The interwar years represent a unique period in American art history. From the Roaring Twenties and Jazz Age to the Great Depression and federal relief programs, it was a time that saw the international and local, modern and anti- modern take center stage. -
HM 39 Page 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20
1 A MEMORIAL 2 REQUESTING THE NEW MEXICO CONGRESSIONAL DELEGATION TO 3 INVESTIGATE THE POSSIBILITY OF ESTABLISHING A NATIONAL MUSEUM 4 OF NEW DEAL ART TO BE LOCATED IN THE NATIONAL PARK SERVICE 5 BUILDING IN THE MUSEUM HILL NEIGHBORHOOD OF SANTA FE. 6 7 WHEREAS, in the 1930s, President Franklin D. Roosevelt 8 proposed a program referred to as the new deal to help pull 9 the United States out of the great depression; and 10 WHEREAS, as part of the new deal, President Roosevelt 11 created the works progress administration by executive order 12 on May 6, 1935; and 13 WHEREAS, the works progress administration was an 14 ambitious employment and infrastructure program and over its 15 eight years of existence put roughly eight million five 16 hundred thousand Americans to work at a time when over eleven 17 million people were unemployed; and 18 WHEREAS, thousands of artists, architects, craftsmen, 19 construction workers and educators found jobs in works 20 progress administration projects, which flourished during the 21 great depression; and 22 WHEREAS, in roughly the first four months of 1934, the 23 public works of art project hired three thousand seven 24 hundred forty-nine artists and produced fifteen thousand six 25 hundred sixty-three paintings, murals, prints, crafts and HM 39 Page 1 1 sculptures for government buildings around the country; and 2 WHEREAS, two of the works progress administration's most 3 successful artists were the young Mark Rothko and Jackson 4 Pollock; and 5 WHEREAS, Mark Rothko worked for the works progress 6 administration -
Bibliography and Exhibitions
4/8/2016 Carter, William Sylvester AAVAD.COM Carter, William Sylvester. (St. Louis, MO, 19091996) Bibliography and Exhibitions MONOGRAPHS AND SOLO EXHIBITIONS: Burroughs, Margaret T. He Will Always Be a Chicago Artist to Me. 1980. Article on Charles White. In: Freedomways 20, no. 3 (1980), 151154. Also mentions: Henry Avery, Eldzier Cortor, Charles Davis, Joseph Kersey, George E. Neal, Bernard Goss, William Carter, Fred Hollingsworth, William McGill, Frank Phillips, Dan T. Reed, Elsworth Terrance, Yassien (folk painter), Marion Perkins, the Federal Art Project, South Side Community Art Center, and brief mention of Elizabeth Catlett. 4to, pictorial wraps. Washington (DC). Archives of American Art, Smithsonian Institution. WILLIAM CARTER Oral history interviews October 27, November 3, 1988. 1988. Transcript of an interview conducted by Tonie Costonie for the African American Artists in Chicago Oral History Project, October 27 and November 3, 1988. Information on Chicago's South Side, his study at the Chicago Art Institute, WPA work, black artist colleagues, Artists Equity. GENERAL BOOKS AND GROUP EXHIBITIONS: ALBANY (NY). Albany Institute of History and Art. The Negro Artist Comes of Age: A National Survey of Contemporary American Artists. January 3February 11, 1945. vii, 77 pp., 63 b&w illus., checklist of 76 works by 38 artists, with 14 others mentioned as well. A major early survey. Foreword by John Davis Hatch, Jr.; essay "Up Till Now" by Alain Locke who states that the show is both "a representative and challenging crosssection of contemporary American art and, additionally, convincing evidence of the Negro’s maturing racial and cultural selfexpression in painting and sculpture." The exhibition coincided with the last months of WWII and the return of the troops.