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Exhibition of I'roduc ['Ions By
EXHIBITION OF I'RODUC ['IONS BY NEURO ARTISTS WOMAN HOLDING A JUG James A. Porter 1'KBSKNTIiD BY TUB H ARMON FOUNDATIO N AT THE ART C E N T I: R 193 3 PEARL Sjrgent Johnson Recipient of the Roben C. Ugden Prize of fiJ0 'Ilie Picture''^^r^Ä;Ä,sÄ^^ by James .1. I ft'^'/!t All the photogtaphic Kork for this catalog ami tl„- i-\i„h ;• , , e ^mesLat^Al!en,213W:tJ^ZTZ7o^^T" Negro photographer THF HARMON FOUNDATION IN COOPERATION WITH THE NATIONAL ALLIANCE OF ART AND INDUSTRY PRES E S' T S A S' E N H I B I T I O N O F W 0 R K 1! V N F G R O AR TI S TS A T T H E A R T C E N T K R 65 RAST ?6TH STREET NEW YORK, X. Y. February 2(1 to March 4, 1933 l inclusive) Weck Days from 10 A.M. to 6 P.M. Sunday, February 26, from 1 to 6 P.M. Evenings of February 20, 2S, 27 and March 2, until ten o'clock Il A R M O X F O U N 1) AT 1 O X INCORPORATKD 140 NASSAU STREET NEW YORK, N. Y. \V. Burke Harmon, President Helen Griffiths Harmon, Vice President Samuel Medine Lindsay, Economic Advise Mary Beattie Brady, Director Evelyn S. Brown, Assistant Director PROFILE OF NEGRO GIRL Eirl: Wi'.ton Richardson Received the Hon Bernent P trina! Prize of $75. FOREWORD 'l'Ili'". 1933 exhibition of work by Negro artists spoiv -*- sored by the Harmon Foundation is the fifth held by the organization in the City of New York. -
Seeing Laure: Race and Modernity from Manet's Olympia to Matisse
Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond Denise M. Murrell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2013 Denise M. Murrell All Rights Reserved ABSTRACT Seeing Laure: Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond Denise M. Murrell During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet’s Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute’s black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet’s other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. -
The Barnett Aden Gallery: a Home For
The Pennsylvania State University The Graduate School College of Arts and Architecture THE BARNETT ADEN GALLERY: A HOME FOR DIVERSITY IN A SEGREGATED CITY A Dissertation in Art History by Janet Gail Abbott Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy December 2008 ii The dissertation of Janet Gail Abbott was reviewed and approved* by the following: Joyce Henri Robinson Associate Professor of Art History Dissertation Advisor Co-Chair of Committee Sarah K. Rich Associate Professor of Art History Co-Chair of Committee Charlotte Houghton Associate Professor of Art History Joan Landes Ferree Professor of History and Women’s Studies Craig Zabel Associate Professor of Art History Head of the Department of Art History *Signatures are on file in the Graduate School. iii ABSTRACT In 1943 Professor James V. Herring along with Alonzo J. Aden, his former student and colleague at Howard University, opened the Barnett Aden Gallery within the modest home they shared in Washington, D.C. As founders of one of the first black- owned galleries in the nation, their mission was to provide an exhibition space for talented artists without regard to ethnicity or national origin. During the next twenty-five years, the Barnett Aden Gallery became a unique site for cross-cultural exchange—where artists, writers, musicians, and politicians of all races met freely for social, professional, and aesthetic discourse—one of few such places in severely segregated Washington, D.C. The Barnett Aden performed the traditional gallery function of featuring talented emerging artists, but it provided a critical service for African American artists, who had few opportunities to show their work in parity with white artists or even to see evidence of their existence within established art institutions. -
A Turning Point in American Negro Art?
THE BLACK REVOLUTION: A TURNING POINT IN AMERICAN NEGRO ART? APPROVED: Major Professor ^ Minor Professor Chairmainn O-f the Department of Ai Dean o THE BLACK REVOLUTION: A TURNING POINT IN AMERICAN NEGRO ART? THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OP' ARTS By Patricia J„ Silvey, B.A. Denton, Texas August, 1971 TABLE OF CONTENTS Page LIST OF TABLES iv LIST OF FIGURES V Chapter I. INTRODUCTION 1 II. THE IMAGE OF THE NEGRO 7 Introduction The Negro in Africa West Africa Interior Africa African Philosophy Negro Image in America Under Slavory Phantom of Slavery Negro Image After Emancipation Until 1960 Negroes in the North and in the South Barriers of Race III. THE IMAGE OF TI1L NEGRO IN ART ......... 38 Introduction Transition History IV. THE IMAGE OF THE NEGRO IN THE BLACK REVOLUTION ................. 72 The Events Leading to Black Revolution Civil Rights Movement Black Power and the Black Revolution • V. CONCLUSIONS . 96 APPENDICES . ' 101 ,LT.*11OI^i .»J.x « . ** •* * . « » . « . m „ , m ^ M ,^20 1X1 LIST OF TABLES Table Page I. Classification of Artists Exhibiting in A f r o - Aiuq r i c a n Artists: New York and Boston by Hilton Kramer 88 II. Artists Associated Directly with the Black Revolution 92 LIST OF FIGURES Figure Page 1 • Benj am in. Franklin Yoe and Son Joshua Johnston Museum of Early Southern Decorative Arts, Winston-Salem, N. C 46 2• Romantic Landscape Robert Duncanson Henry M. Fuller Collection, New York . 48 3• Approaching Storm Edward M. -
PDF Released for Review Purposes Only Not for Publication Or Wide
only purposes distribution reviewwide for or released publication PDF for Not only purposes distribution reviewwide for or released publication PDF for Not AMONG OTHERS Darby English and Charlotte Barat BLACKNESS AT MoMA The Museum of Modern Art, New York CONTENTS BLACKNESS AT MoMA: A LEGACY OF DEFICIT Foreword Glenn D. Lowry onlyCharlotte Barat and Darby English 9 14 → 99 Acknowledgments 11 purposes distribution WHITE reviewwide BY DESIGN for Mabel O. Wilson or 100 → 109 released publication AMONG OTHERS PDF Plates for 111 → 475 Not Contributors 476 Trustees of The Museum of Modern Art 480 Plates Terry Adkins Marcel Broodthaers Melvin Edwards Leslie Hewitt Man Ray John Outterbridge Raymond Saunders James Van Der Zee A Akili Tommasino 112 Christophe Cherix 154 Paulina Pobocha 194 Roxana Marcoci 246 M Quentin Bajac 296 Nomaduma Rosa Masilela 340 Richard J. Powell 394 Kristen Gaylord 438 John Akomfrah Charles Burnett William Eggleston Richard Hunt Robert Mapplethorpe Euzhan Palcy Lasar Segall Melvin Van Peebles Kobena Mercer 114 Dessane Lopez Cassell 156 Matthew Jesse Jackson 196 Samuel R. Delany 248 Tavia Nyong’o 298 P Anne Morra 342 Edith Wolfe 396 Anne Morra 440 Njideka Akunyili Crosby Elizabeth Catlett Minnie Evans Hector Hyppolite Kerry James Marshall Gordon Parks Ousmane Sembène Kara Walker Christian Rattemeyer 116 C Anne Umland 158 Samantha Friedman 198 J. Michael Dash 250 Laura Hoptman 300 Dawoud Bey 344 Samba Gadjigo 398 W Yasmil Raymond 442 Emma Amos Nick Cave Fred Eversley Arthur Jafa Rodney McMillian Benjamin Patterson Richard Serra Jeff Wall Christina Sharpe 118 Margaret Aldredge-Diamond 160 Cara Manes 200 J Claudrena N. -
Exhibition Negro Artists
KO. rvn EXHIBITION OF THE WORK OF NEGRO ARTISTS CHESTER <$<irgent Glands Jahmon PRESENTED BY THE HARMON FOUNDATION AT THE ART CENTER 1931 MOTHER AND DAUGHTER Çjiura Wh, tAll the fhlHgrafthit worÇfor this catalogue and ihr exhibition ha, nrrn dour hj James £. -Allen. J/J West 121 SI S'erri, .\eie Tur It, Y. V. •\>e>» fhettgrapher THE HARMON FOUNDATION P R E S E N T S A S EXHIBITION OF T H E W OKK OF NEGRO ARTISTS A T T HE ART CENTER 65 EAST 56TH STREET NEW YORK, N.Y. February 16th to February 28th, 1931, (inclusive) Daily from 10 A.M. to 6 P.M. Tuesday evenings —February 17th and 24th Thursday evenings—February 19th and 26th Until 10 P.M. Sunday—February 22nd, from 1 to 6 P.M. HARMON FOUNDATION INCORPORATED 140 NASSAU STREET NEW YORK William Burke Harmon, President Samuel McCune Lindsay, Economic Adviser Helen Griffiths Harmon, Vice President Mary Beattie Brady, Director FOREWORD HEN THE HARMON FOUNDATION held its first W exhibition of the work of American Negro artists in 1928, through the courteous hospitality of International House in New York, the organization was frankly feeling its way in a comparatively new field. It was hoped through this assembling to acquaint and interest the public more generally in the creative accomplishments in fine arts by- Negroes, thereby assisting this group to a more sound and satisfactory economic position. Perhaps most important of all was the desire to en courage the Negro endowed with high creative ability to give a wider expression to this genius. -
Conceptualizing African-American Art: the Market, Academic Discourse and Public Reception
CONCEPTUALIZING AFRICAN-AMERICAN ART: THE MARKET, ACADEMIC DISCOURSE AND PUBLIC RECEPTION Shawnya L. Harris A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Art Chapel Hill 2012 Approved by: Lyneise E. Williams John P. Bowles Jan Hannig Carol Magee Hans Van Miegroet © 2012 Shawnya L. Harris ALL RIGHTS RESERVED ii ABSTRACT SHAWNYA L. HARRIS: Conceptualizing African-American Art: The Market, Academic Discourse and Public Reception (Under the direction of Dr. Lyneise E. Williams) The concept of an ‘African-American art market’ presents a new field of scholarly inquiry. However, objects labeled and fashioned as ‘African American art’ allude to a broader visual culture composed of objects, buyers, sellers and critics than previously acknowledged in scholarly literature. This dissertation will provide a nuanced picture of how an ‘African-American art market’ has been conceptualized and how this understanding reflects a complex web of tensions and relationships between objects, consumers, sellers and even scholars and critics of the work. Since the current literature on the field of African- American art provides only scant attention to the consumption of African-American art and virtually nothing about its place in the art market, this study will demonstrate how art historians could critically interpret African-American art in relation to market dynamics through an investigation of art related publications, oral interviews, public display venues. iii ACKNOWLEDGMENTS The undertaking of writing a dissertation is a complex one in concept, process and completion, yet not without the involvement of several players, who may or may not know the power of their influence on this work and hopefully more work to come. -
The Harlem Renaissance
PART 3 THE HARLEM RENAISSANCE The Bitter Nest, Part II: The Harlem Renaissance Party, c. 1988. Faith Ringgold. Acrylic on canvas with printed, dyed, and pieced fabric, 94 x 83 in. Smithsonian American Art Museum, Washington, DC. “I, too, am America.” —Langston Hughes, “I, Too” 785 Smithsonian American Art Museum, Washington, DC/Art Resource, NY 0785 U5P3-845481.indd 785 4/8/06 6:38:29 PM BEFORE YOU READ My City MEET JAMES WELDON JOHNSON oth as an artist and an activist, James During the 1920s, Harlem Weldon Johnson spent his life introducing became “the recognized Bthe United States to the creative voice of Negro capital,” and the African Americans while fighting the racism and passionate innovations in the social injustices he believed hindered their African American music, progress. For Johnson, writing poetry and fighting art, and literature that for equality served the same goal: winning a developed there became respected place in society for African Americans. known as the Harlem Renaissance. Johnson was Born in Jacksonville, Florida, Johnson grew up in involved in the movement not only as an author a stable middle-class home and was raised to have but also as a mentor of young writers, such as an appreciation of the arts and a love of learning. Claude McKay and Langston Hughes. He urged Later, as a student at Atlanta University, he artists to find their inspiration in real-life African embraced the school’s philosophy that educated American communities. In these artists he saw “a African Americans should devote their lives to group whose ideals are becoming increasingly more public service—and he did just that. -
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. -
The Year in Black Art 2018
Culture Type: The Year in Black Art 2018 culturetype.com/2019/01/15/culture-type-the-year-in-black-art-2018/ Victoria L. Valentine IN MANY WAYS, 2018 was a watershed year for black artists. Overdue recognition of art by African American artists and black artists from throughout the world, continued to grow among collectors, curators, critics, scholars, and gallery owners. There were many indicators of the ever-expanding institutional and market interest. European attention on African American artists rose. In the United States, major museums dedicated prime gallery space to huge exhibitions. Retrospectives of Charles White (1918-1979), Adrian Piper, and Howardena Pindell traveled the country in 2018. Presenting stunning self portraits by South African photographer Zanele Muholi, “Somnyama Ngonyama, Hail the Dark Lioness” made its U.S. debut at the Spelman College Museum of Fine Art, where an earlier exhibition, “Deborah Roberts: The Evolution of Mimi,” raised the profile of Roberts, whose figurative collages explore race, beauty, girlhood, vulnerability and power. Mid-career, Roberts came into her own in 2018. As did Simone Leigh. Known for her ceramic works, Leigh won the Guggenheim’s $100,000 Hugo Boss Prize. She was the first black artist to do so. Hamilton, Canada-born Kapwani Kiwanga was also the first black artist to win the National Gallery of Canada’s Sobey Art Award, which includes 100,000 Canadian dollars. Then, Titus Kaphar is named a MacArthur “genius” fellow, an honor that includes a $625,000 grant. Several artists joined the rosters of so-called mega galleries in 2018, including Amy Sherald and Charles Gaines at Hauser & Wirth, Njideka Akunyili Crosby and the estate of Roy DeCarava at David Zwirner, and Theaster Gates at Gagosian. -
CHAACA CHERRY HILL AFRICAN AMERICAN CIVIC ASSOICATION and the Cherry Hill Public Library
ESSAY •POSTER •VIDEO CONTEST Sponsored by CHAACA CHERRY HILL AFRICAN AMERICAN CIVIC ASSOICATION And The Cherry Hill Public Library CHAACA is sponsoring an Essay·Poster·Video Contest for Black History Month 2017. The contest is open to public school students in Cherry Hill in grades K through 12th. The essay, poster or video must depict an African American in the Arts born before 1960 – Performing Arts [music, dance, dramatic arts {theater and film}]; Media Arts [photography, cinematography]; Visual Arts [drawing, painting, ceramics, sculpting]. A list of names of persons born before 1960 is attached to this document. The essay, poster or video should emphasis the contributions the person made to their field; obstacles overcome to participate or excel in their field; or if they were the first African American recognized in that area. There will be three winners in each of the following six categories: Prizes Category First Prize $75 Grades Kdg. – 1st (Poster, Video, or Essay) Second Prize $50 Grades 2nd -3rd (Poster, Video, or Essay) Third Prize $25 First Prize $100 Grades 4th – 5th (Poster, Video, or Essay) Second Prize $75 Grades 6th – 7th (Poster, Video, or Essay) Third Prize $50 First Prize $125 Grades 8th - 9th (Poster, Video, or Essay) Second Prize $100 Grades 10th -11th (Poster, Video, or Essay) Third Prize $75 th First Prize $150 Grade 12 (Poster, Video, or Essay) Second Prize $125 Third Prize $100 The Essay·Poster·Video Contest will be judged by a panel of judges selected by the CHAACA Executive Board. Guidelines: The Essay·Poster·Video must be the original work of the author. -
17372.Pdf (10.71
“‘A Fortress Where Beauty is Cherished, Protected, and Cultivated’: The South Side Community Art Center, Chicago, Illinois, 1940-1991” A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Master of Arts in the School of Art of the College of Design, Architecture, Art, & Planning by Auna R. Hearne B.A., University of Memphis May 2009 Committee Chair: Theresa Leininger-Miller, Ph.D. Abstract Since opening in 1940, the South Side Community Art Center (SSCAC) in Chicago, Illinois has continuously met the need for a creative space in the local African American visual arts community. I support this assertion by focusing on three aspects of the institution’s first fifty years: 1) the center as provider of education and access to the visual arts, 2) the center as an inclusive exhibition and market place, and 3) the center as a site for community building. The SSCAC has demonstrated a historical and contemporary commitment to enabling the production and appreciation of art through access and education, as evidenced by an extensive arts curriculum, its alumni and collection, and a strong exhibition history. I analyze how the SSCAC’s programs and exhibitions combatted discriminatory and oppressive practices of Chicago’s museums and academic institutions. Established by the Works Progress Administration (WPA), the center and its programs were components of the federal government’s strategy to restore the nation’s economy by employing artists and encouraging community participation in the development of culture. Chicago, especially its predominantly black south side, was a fitting location for an art center as it had been founded as a feasible cradle of creative expression long before the government considered the area.