The New Jim Crow
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Race and Membership in American History: the Eugenics Movement
Race and Membership in American History: The Eugenics Movement Facing History and Ourselves National Foundation, Inc. Brookline, Massachusetts Eugenicstextfinal.qxp 11/6/2006 10:05 AM Page 2 For permission to reproduce the following photographs, posters, and charts in this book, grateful acknowledgement is made to the following: Cover: “Mixed Types of Uncivilized Peoples” from Truman State University. (Image #1028 from Cold Spring Harbor Eugenics Archive, http://www.eugenics archive.org/eugenics/). Fitter Family Contest winners, Kansas State Fair, from American Philosophical Society (image #94 at http://www.amphilsoc.org/ library/guides/eugenics.htm). Ellis Island image from the Library of Congress. Petrus Camper’s illustration of “facial angles” from The Works of the Late Professor Camper by Thomas Cogan, M.D., London: Dilly, 1794. Inside: p. 45: The Works of the Late Professor Camper by Thomas Cogan, M.D., London: Dilly, 1794. 51: “Observations on the Size of the Brain in Various Races and Families of Man” by Samuel Morton. Proceedings of the Academy of Natural Sciences, vol. 4, 1849. 74: The American Philosophical Society. 77: Heredity in Relation to Eugenics, Charles Davenport. New York: Henry Holt &Co., 1911. 99: Special Collections and Preservation Division, Chicago Public Library. 116: The Missouri Historical Society. 119: The Daughters of Edward Darley Boit, 1882; John Singer Sargent, American (1856-1925). Oil on canvas; 87 3/8 x 87 5/8 in. (221.9 x 222.6 cm.). Gift of Mary Louisa Boit, Julia Overing Boit, Jane Hubbard Boit, and Florence D. Boit in memory of their father, Edward Darley Boit, 19.124. -
Racial Critiques of Mass Incarceration: Beyond the New Jim Crow
RACIAL CRITIQUES OF MASS INCARCERATION: BEYOND THE NEW JIM CROW JAMES FORMAN, JR.* In the last decade, a number of scholars have called the American criminal justice system a new form of Jim Crow. These writers have effectively drawn attention to the injustices created by a facially race-neutral system that severely ostracizes offenders and stigmatizes young, poor black men as criminals. I argue that despite these important contributions, the Jim Crow analogy leads to a distorted view of mass incarceration. The analogy presents an incomplete account of mass incarceration’s historical origins, fails to consider black attitudes toward crime and punishment, ignores violent crimes while focusing almost exclusively on drug crimes, obscures class distinctions within the African American community, and overlooks the effects of mass incarceration on other racial groups. Finally, the Jim Crow analogy diminishes our collective memory of the Old Jim Crow’s particular harms. INTRODUCTION In the five decades since African Americans won their civil rights, hundreds of thousands have lost their liberty. Blacks now make up a larger portion of the prison population than they did at the time of Brown v. Board of Education, and their lifetime risk of incarceration has doubled. As the United States has become the world’s largest jailerand its prison population has exploded, black men have been particularly affected. Today, black men are imprisoned at 6.5 times the rate of white men. While scholars have long analyzed the connection between race and America’s criminal justice system, an emerging group of scholars and advocates has highlighted the issue with a provocative claim: They argue that our growing penal system, with its black tinge, constitutes nothing less than a new form of Jim Crow. -
Jeanmichel Basquiat: an Analysis of Nine Paintings
JeanMichel Basquiat: An Analysis of Nine Paintings By Michael Dragovic This paper was written for History 397: History, Memory, Representation. The course was taught by Professor Akiko Takenaka in Winter 2009. Jean‐Michel Basquiat’s incendiary career and rise to fame during the 1980s was unprecedented in the world of art. Even more exceptional, he is the only black painter to have achieved such mystic celebrity status. The former graffiti sprayer whose art is inextricable from the backdrop of New York City streets penetrated the global art scene with unparalleled quickness. His work arrested the attention of big‐ shot art dealers such as Bruno Bischofberger, Mary Boone, and Anina Nosei, while captivating a vast audience ranging from vagabonds to high society. His paintings are often compared to primitive tribal drawings and to kindergarten scribbles, but these comparisons are meant to underscore the works’ raw innocence and tone of authenticity akin to the primitivism of Henri Matisse, Pablo Picasso, Cy Twombly or, perhaps, even that of the infant mind. Be that as it may, there is nothing juvenile about the communicative power of Basquiat’s work. His paintings depict the physical and the abstract to express themes as varied as drug abuse, bigotry, jazz, capitalism, and mortality. What seem to be the most pervasive throughout his paintings are themes of racial and socioeconomic inequality and the degradation of life that accompanies this. After examining several key paintings from Basquiat’s brief but illustrious career, the emphasis on specific visual and textual imagery within and among these paintings coalesces as a marked—and often scathing— social commentary. -
Jim Crow Racism and the Mexican Americans of San Antonio, Texas
ORAL HISTORY AS A MEANS OF MORAL REPAIR: JIM CROW RACISM AND THE MEXICAN AMERICANS OF SAN ANTONIO, TEXAS by Rebecca Dominguez-Karimi A Dissertation Submitted to the Faculty of The Dorothy F. Schmidt College of Arts and Letters In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Florida Atlantic University Boca Raton, FL May 2018 Copyright by Rebecca Dominguez-Karimi, 2017 ii ORAL HISTORY AS A MEANS OF MORAL REPAIR: JIM CROW RACISM AND THE MEXICAN AMERICANS OF SAN ANTONIO, TEXAS by Rebecca Dominguez-Karimi This dissertation was prepared under the direction of the candidate's dissertation advisor, Dr. Sandra Norman, Comparative Studies Program, and has been approved by the members of her supervisory committee. It was submitted to the faculty of the Dorothy F. Schmidt College of Arts and Letters and was accepted in partial fulfillment of the requirements for the degree of Doctor of Philosophy. SUPERVISORY COMMnTEE: ~~o..... .:i N1~"" Sandra Norman, Ph.D. ~~Susan Love Brown, Ph. 'S:"..,;ae~.~~o~ JosephinBeoku-Betts, Ph.D. Directo , mparative St ilies Pro? MiC11aeliOfSWclD.~-# Dean, Dorothy F. Schmidt College of Arts andn:ers . 5"", "Zo/g "~~2.~~ ' iii ACKNOWLEDGMENTS The author offers her sincerest thanks and gratitude to members of her committee (past and present-Dr. Robin Fiore, Dr. Marta Cruz-Janzen, Dr. Sandra Norman, Dr. Susan Love Brown, and Dr. Josephine Beoku-Betts) for their guidance, input, and support in bringing this manuscript to fruition. She wishes to especially thank her dissertation advisor, Dr. Sandra Norman, for her patience, advice, and inspiration during the composition of this manuscript. -
An Analysis of Internalized Racism in Art Created by Black Artists; Implications for Psychological Intervention
Pepperdine University Pepperdine Digital Commons Theses and Dissertations 2021 An analysis of internalized racism in art created by Black artists; implications for psychological intervention Mirjam Hatton Follow this and additional works at: https://digitalcommons.pepperdine.edu/etd Part of the Psychology Commons Pepperdine University Graduate School of Education and Psychology AN ANALYSIS OF INTERNALIZED RACISM IN ART CREATED BY BLACK ARTISTS; IMPLICATIONS FOR PSYCHOLOGICAL INTERVENTION A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Psychology by Mirjam Hatton April, 2021 Shelly P. Harrell, Ph.D. – Dissertation Chairperson This clinical dissertation, written by Mirjam Hatton under the guidance of a Faculty Committee and approved by its members, has been submitted to and accepted by the Graduate Faculty in partial fulfillment of the requirements for the degree of DOCTOR OF PSYCHOLOGY Doctoral Committee: Shelly P. Harrell, Ph.D., Chairperson Thema Bryant-Davis, Ph.D. Jennifer Brown, Psy.D. TABLE OF CONTENTS Page LIST OF TABLES ......................................................................................................................... vi LIST OF FIGURES ..................................................................................................................... vii ACKNOWLEDGEMENTS ......................................................................................................... viii VITA ............................................................................................................................................. -
26103470.Pdf
92 DL6b Broderick, Francis L $>5,00 *EBo Du Bois, Megro leader lii a time of crisis. Stanford, Calif 0, Stanford University Press, 1959* 259p* MOV 10 1!75 WEF ,HJ1 STACKS 92 D816b Broderick, Francis L. W.E.B. Du Bois, Negro leader in a time of 1959. Photograph by Carl Van Vechten William Edward Burghardt DuBois W. 8. ft NEGRO LEADER IN A TIME OF CRISIS by Francis . Roderick STANFORD UNIVERSITY PRESS Stanford, California 1939 STANFORD UNIVERSITY PRESS STANFORD, CALIFORNIA 1959 by the Board of Trustees of the Leland Stanford Junior University All rights reserved Printed in the United States of America Library of Congress Catalog Card Number: 59-7422 PUBLISHED WITH THE ASSISTANCE OF THE FORD FOUNDATION To Mother and Dad W^TPORT OCT 29 1959 ACKNOWLEDGMENTS A study of the public career of a complex figure like William Edward Burghardt DuBois, who has put so much on the record and who has been a controversial figure for over half a century, of invites controversy at almost every chapter. It is not the job the historian to avoid controversy. It is his job to reconstruct the his past as accurately as his limitations permit, even when judg I done. ments contradict existing judgments. This is what have My intention has been neither to exalt nor to demean Dr. DuBois; it has been to understand him in the context of his time. My work has put me in debt to many people. At the head of the list is Dr. DuBois himself. Not only did he ease my way into sources of information, such as the Harvard archives, which other wise would have been unavailable; he also gave me unlimited access to his own voluminous papers. -
Painting Outside of the Lines: How Race Assignment Can Be Rethought Through Art
Gettysburg Social Sciences Review Volume 5 Issue 1 Article 10 2021 Painting Outside of the Lines: How Race Assignment can be Rethought Through Art Giovanni Mella-Velazquez Emory University Follow this and additional works at: https://cupola.gettysburg.edu/gssr Part of the African American Studies Commons, American Art and Architecture Commons, Caribbean Languages and Societies Commons, Contemporary Art Commons, Ethnic Studies Commons, Latina/o Studies Commons, Modern Art and Architecture Commons, Painting Commons, and the Social and Behavioral Sciences Commons Share feedback about the accessibility of this item. Recommended Citation Mella-Velazquez, Giovanni (2021) "Painting Outside of the Lines: How Race Assignment can be Rethought Through Art," Gettysburg Social Sciences Review: Vol. 5 : Iss. 1 , Article 10. Available at: https://cupola.gettysburg.edu/gssr/vol5/iss1/10 This open access article is brought to you by The Cupola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The Cupola. For more information, please contact [email protected]. Painting Outside of the Lines: How Race Assignment can be Rethought Through Art Abstract For centuries art has been used to make us think about our own human experiences. Unfortunately, works usually reflect the era which they were painted in; this has led to various artists showing, maintaining, and therefore reinforcing racist thoughts in our cultures. Art can be used to create a new narrative for our race assignments and their meanings. The idea of loving one's roots has been prevalent in many cultures, but in art form a disconnect between history and the everyday experience can arise which could miss the mark in helping us redefine our own ace.r Therefore, artwork which empowers the present identity of marginalized people’s own race will have a greater appeal and connection to these people. -
RESEARCH DEGREES with PLYMOUTH UNIVERSITY Gold Griot
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2018 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Ross, Lucinda http://hdl.handle.net/10026.1/11135 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. RESEARCH DEGREES WITH PLYMOUTH UNIVERSITY Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art by Lucinda Ross A thesis submitted to Plymouth University In partial fulfilment for the degree of Doctor of Philosophy Humanities and Performing Arts Doctoral Training Centre May 2017 Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Basquiat, Gold Griot, 1984 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. Gold Griot: Jean-Michel Basquiat Telling (His) Story in Art Lucinda Ross Abstract Emerging from an early association with street art during the 1980s, the artist Jean-Michel Basquiat was largely regarded within the New York avant-garde, as ‘an exotic other,’ a token Black artist in the world of American modern art; a perception which forced him to examine and seek to define his sense of identity within art and within society. -
African American Lawyers in the Jim Crow South In
UNIVERSITY OF CALIFORNIA, SAN DIEGO Legal Subversives: African American Lawyers in the Jim Crow South A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in History by David Kenneth Pye Committee in charge: Professor Michael E. Parrish, Chair Professor Ross Frank Professor Michael Monteon Professor Eric Van Young Professor Daniel Widener 2010 Copyright David Kenneth Pye, 2010 All rights reserved. The Dissertation of David Kenneth Pye is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2010 iii TABLE OF CONTENTS Signature Page……………………………………………………………………………iii Table of Contents………………………………………………………………................iv Vita …………………………………..……………………………………………………v Abstract…………………………………………………………………………………...vi Chapter 1: Introduction……………………………………………………………………1 Chapter 2: Becoming an African American Lawyer…………………………………….18 Chapter 3: Before “Civil Rights” Was in Vogue………………………………………...61 Chapter 4: We People Darker Than Blue: Class and Status in Black America ………..125 Chapter 5: Things Fell Apart: The NAACP, Intra-Racial Interest Convergence and Brown v. Board of Education…………………………………………………………………..156 References………………………………………………………………………………201 iv VITA 1999 B.A. University of North Carolina at Chapel Hill 2001 M.A. University of Georgia 2010 Ph.D. University of California, San Diego PUBLICATIONS “Complex Relations: An African-American Lawyer Navigates Jim Crow Atlanta,” Georgia Historical Quarterly, Winter 2008. Review of Black, Brown, Yellow, and Left: Radical Activism in Los Angeles, by Laura Pulido, in The Journal of San Diego History, Fall 2009. Review of The Great Black Way: L.A. in the 1940s and the Lost African American Renaissance, by R.J. Smith, in The Journal of San Diego History, Summer 2008. -
Jim Crow Laws. in the Streets, Resistance Turned Violent
TEACHING TEACHING The New Jim Crow TOLERANCE LESSON 4 A PROJECT OF THE SOUTHERN POVERTY LAW CENTER TOLERANCE.ORG Jim Crow as a Form of Racialized Social Control THE NEW JIM CROW by Michelle Alexander CHAPTER 1 The Rebirth of Caste The Birth of Jim Crow The backlash against the gains of African Americans in the Reconstruction Era was swift and severe. As African Americans obtained political power and began the long march to- ward greater social and economic equality, whites reacted with panic and outrage. South- ern conservatives vowed to reverse Reconstruction …. Their campaign to “re- deem” the South was reinforced by a resurgent Ku Klux Klan, which fought a BOOK terrorist campaign against Reconstruction governments and local leaders, EXCERPT complete with bombings, lynchings, and mob violence. The terrorist campaign proved highly successful. “Redemption” resulted in the withdrawal of federal troops from the South and the effective aban- donment of African Americans and all those who had fought for or supported an egalitarian racial order. The federal government no longer made any effort to enforce federal civil rights legislation … . Once again, vagrancy laws and other laws defining activities such as “mischief ” and “insult- ing gestures” as crimes were enforced vigorously against blacks. The aggressive enforce- ment of these criminal offenses opened up an enormous market for convict leasing, in Abridged excerpt which prisoners were contracted out as laborers to the highest private bidder. from The New Jim Crow: Mass Incar- Convicts had no meaningful legal rights at this time and no effective redress. They were ceration in the Age understood, quite literally, to be slaves of the state. -
The New Jim Crow
For Nicole, Jonathan, and Corinne Acknowledgments It is often said, “It takes a village to raise a child.” In my case, it has taken a village to write this book. I gave birth to three children in four years, and in the middle of this burst of joyous activity in our home, I decided to write this book. It was written while feeding babies and during nap times. It was written at odd hours and often when I (and everyone else in the household) had little sleep. Quitting the endeavor was tempting, as writing the book proved far more challenging than I expected. But just when I felt it was too much or too hard, someone I loved would surprise me with generosity and unconditional support; and just when I started to believe the book was not worth the effort, I would receive—out of the blue—a letter from someone behind bars who would remind me of all the reasons that I could not possibly quit, and how fortunate I was to be sitting in the comfort of my home or my office, rather than in a prison cell. My colleagues and publisher supported this effort, too, in ways that far exceeded the call of duty. I want to begin, then, by acknowledging those people who made sure I did not give up—the people who made sure this important story got told. First on this list is Nancy Rogers, who was dean of the Moritz College of Law at Ohio State University until 2008. Nancy exemplifies outstanding leadership. -
BASQUIAT Mississippi, 1982 21.8% B
THE PAINTING ANNUAL APPRECIATION OF SIMILAR WORKS¹ BASQUIAT Mississippi, 1982 21.8% b. 1960, New York–d. 1988, New York Acrylic and oilstick on two INITIAL OFFERING joined canvases $13,320,000 78 x 41 in. (198.1 x 104.1 cm.) APPRAISED VALUE Offering Circular: sec.gov/edgar $20,000,000 The Painting is a striking example of Wave. Shortly following the show at PS1, Jean-Michel Basquiat’s figurative work, Basquiat was offered a studio and stipend which derives its title from the repeated by the gallerist Annina Noisei, who orga- text: “mississippi”, written in white oilstick nized his first solo show at her eponymous on the green upper third of the right panel. gallery in 1982. That same year, Basquiat Jean-Michel Basquiat Two adjoined panels make up the full com- travelled to Los Angeles and began to work (b. 1960, New York - d. position, and on the left, an upright figure on his first show for the famed Gagosian is rendered predominantly in black, with Gallery. Throughout his brief and glamor- 1988, New York) is widely its right arm raised above its head. Written ous career, the artist explored the experi- five consecutive times on the right panel, ence of black identity in America, a topic considered to be one the text “mississippi” reminds the viewer still relevant today. By the time a profile of Basquiat’s interest in the Civil Rights of Basquiat, titled “New Art, New Money,” of the most interesting Movement and the ongoing engagement was published in The New York Times Mag- and controversial artists with the topic of race in his work.