DOCSLIB.ORG

Soul of a Nation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Soul of a Nation SOUL OF A NATION ART IN THE AGE OF BLACK POWER 12 JUL – 22 OCT 2017 LARGE PRINT GUIDE CONTENTS Room 1............................................................................................5 Room 2..........................................................................................14 Room 3..........................................................................................40 Room 4..........................................................................................53 Room 5..........................................................................................65 Room 6..........................................................................................77 Room 7..........................................................................................85 Room 8..........................................................................................95 Room 9.........................................................................................114 Room 10......................................................................................126 Room 11.......................................................................................139 Room 12 .....................................................................................147 Find out more............................................................................180 INTRODUCTION This exhibition celebrates the work of Black artists working in the United States in the two decades after 1963. During this turbulent time, these artists asked and answered many questions. How should an artist respond to political and cultural changes? Was there a ‘Black art’ or a ‘Black aesthetic’? Should an artist create legible images or make abstract work? Was there a choice to be made between addressing a specifically Black audience or a ‘universal’ one? The exhibition looks at responses to such questions, with each room devoted to groups of artists in cities nationwide, or to different kinds of art. While showing strong communities and robust artistic dialogues, it also reveals necessary disagreements about what it meant to be a Black artist at this time. In 1963, when the exhibition begins, the American Civil Rights Movement was at its height. At the March on Washington for Jobs and Freedom in Washington D.C., Dr Martin Luther King, Jr dreamed that his children would live in ‘a nation where they will not be judged by the colour of their skin but by the content of their character’. King referred to himself proudly as ‘Negro’, but by this time, many who were on the March were beginning to 3 call themselves Black. Taking issue with King’s non-violent position, especially after appalling racist violence later in 1963, many joined in calls for ‘Black Power’. Others rejected the idea of an integrated America, and began to speak of a separate, autonomous Black Nation. Looking at newly independent African nations, and understanding an ancestral connection to the continent, the terms ‘Afro-American’ and ‘African American’ also began to take root. The artists in Soul of a Nation were profoundly aware of these political visions and different senses of self, and each took an aesthetic position in relation to them. 4 ROOM 1 SPIRAL 5 The exhibition starts with the Spiral group that formed in New York in 1963. As they wrote, ‘During the summer of 1963 at a time of crucial metamorphosis just before the now historic March on Washington, a group of Negro artists met to discuss their position in American society’. Many of the 15 members were established artists and they worked in wide-ranging styles. While they asked the question ‘Is there a Negro image?’, they gave no single answer. They mounted one joint exhibition in 1965, agreeing to show only ‘works in black and white’. The exhibition included one of Norman Lewis’s abstract paintings, Romare Bearden’s Photostat of one of his collages, and Reginald Gammon’s forceful painting of the March. Younger Black artists would look back to Spiral later, impressed both by the group’s determination to exhibit together in an artist-run space, and by the range of artistic viewpoints of its members. 6 Clockwise from left Romare Bearden 1911–1988 The Conjur Woman 1964 Printed papers and goauche on cardboard The Museum of Modern Art, New York. Blanchette Hooker Rockefeller Fund, 1971 X61862 Romare Bearden 1911–1988 The Prevalence of Ritual: Baptism 1964 Printed paper, acrylic paint, ink and graphite on cardboard Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C. Gift of Joseph H. Hirshhorn, 1966 X29993 7 Romare Bearden 1911–1988 Mysteries 1964 Printed papers and acrylic paint on cardboard Museum of Fine Arts, Boston. Ellen Kelleran Gardner Fund X61455 Romare Bearden 1911–1988 Pittsburgh Memory 1964 Printed papers and acrylic paint on cardboard Collection of halley k harrisburg & Michael Rosenfeld, New York X64720 8 Romare Bearden 1911–1988 The Street 1964 Printed papers on cardboard Milwaukee Art Museum, Milwaukee. Gift of Friends of Art and African American Art Acquisition Fund X61456 Romare Bearden 1911–1988 The Conjur Woman 1964 Photostat on breboard Courtesy of Michael Rosenfeld Gallery LLC, New York X65457 9 Romare Bearden 1911–1988 The Dove 1964 Photostat on breboard The Romare Bearden Foundation, courtesy of DC Moore Gallery, New York X61598 10 Norman Lewis 1909–1979 America the Beautiful 1960 Oil paint on canvas Although starting out as a realist painter, Norman Lewis worked with abstraction from the mid-1940s. He was a key gure of abstract expressionism, despite having fewer opportunities to exhibit his work than other colleagues. In a small series of works, he set aside his air for colour to concentrate on black and white, in order to reflect on race relations in America. Here, Lewis evokes a gathering of the Ku Klux Klan, while titling the work to suggest the difference between America’s vision of itself and its realities. From the Collection of Tonya Lewis Lee and Spike Lee X61451 11 Norman Lewis 1909–1979 Processional 1965 Oil paint on canvas Norman Lewis painted Processional for the Spiral group exhibition of May 1965. He had attended the March on Washington in 1963, and Processional is an abstract evocation of the Selma Marches that took place in March 1965. These were a series of three marches led by Martin Luther King, Jr. from Selma, Alabama, to the state capital, Montgomery, aimed at registering Black voters. Despite violent and repressive opposition from state troopers, the marchers grew in number and, on their third attempt, completed the 54-mile journey, now 25,000 strong. In Processional, Lewis sets a series of white brush strokes in a widening shape, like a light beam against darkness.. Private collection, courtesy Michael Rosenfeld Gallery LLC, New York X61549 12 ROOM 2 ART ON THE STREET 13 ‘The Ghetto itself is the Gallery for the Revolutionary Artist.’ – Emory Douglas For many Black artists in this period, a key question was: where to present their art? Their work was excluded from nearly all mainstream museums. Linked to this was another question: which viewers should they address? This room looks at ways artists positioned their work beyond conventional gallery and museum spaces. It reveals how they inspired and mobilised speci cally Black and local audiences. OBAC (pronounced ob-bah-see; The Organization of Black American Culture) formed in Chicago in 1967. This group of artists and writers created The Wall of Respect, an outdoor mural in the city’s South Side. The Wall featured images of ‘Black Heroes’ – civic leaders, writers, musicians, sports stars and dancers – and became a gathering place for poetry readings, music, and performances.It sparked a wave of murals in African American neighbourhoods nationwide. In 1966 The Black Panther Party (BPP) for Self-Defense formed in Oakland, California. The ten-point party platform set out demands for improved housing and education, and an end to police brutality. Their statement began, ‘We want power to determine the destiny of our Black Community’. Panthers carried guns to protect Black residents, and launched a free breakfast programme for working-class children and health clinics for locals. Soon after its founding, 14 the BPP created The Black Panther newspaper. Young artist Emory Douglas was appointed the party’s Minister of Culture and designed the newspaper. In his back- page illustrations, photomontages, posters and flyers, Douglas depicted the party’s demands, its leaders and recognisable scenes of both struggle and triumph. Research on the mural movement was carried out by Julia Bailey. 15 Clockwise on wall from left Faith Ringgold born 1930 Design for poster, ‘All Power to the People’ 1970 Paper on paper Private collection X61852 Emory Douglas born 1943 Prime Minister of Colonized Afro-America 1968 Lithograph on paper Courtesy of the Center for the Study of Political Graphics, Los Angeles x65454 16 Emory Douglas born 1943 Wherever Death May Surprise Us 1967 Lithograph on paper Courtesy of the Center for the Study of Political Graphics, Los Angeles x65453 Emory Douglas born 1943 Emory “67” 1967 Lithograph on paper Courtesy of the Center for the Study of Political Graphics, Los Angeles x65456 17 Emory Douglas born 1943 We are Soldiers in the Army c. 1970 Lithograph on paper Courtesy of the Center for the Study of Political Graphics, Los Angeles x65902 Emory Douglas born 1943 You Can Jail a Revolutionary 1969 Lithograph on paper Courtesy of the Center for the Study of Political Graphics, Los Angeles X65900 18 Emory Douglas
Load more

Recommended publications
  • Vindicating Karma: Jazz and the Black Arts Movement
    University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2007 Vindicating karma: jazz and the Black Arts movement/ W. S. Tkweme University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Tkweme, W. S., "Vindicating karma: jazz and the Black Arts movement/" (2007). Doctoral Dissertations 1896 - February 2014. 924. https://scholarworks.umass.edu/dissertations_1/924 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. University of Massachusetts Amherst Library Digitized by the Internet Archive in 2014 https://archive.org/details/vindicatingkarmaOOtkwe This is an authorized facsimile, made from the microfilm master copy of the original dissertation or master thesis published by UMI. The bibliographic information for this thesis is contained in UMTs Dissertation Abstracts database, the only central source for accessing almost every doctoral dissertation accepted in North America since 1861. Dissertation UMI Services From:Pro£vuest COMPANY 300 North Zeeb Road P.O. Box 1346 Ann Arbor, Michigan 48106-1346 USA 800.521.0600 734.761.4700 web www.il.proquest.com Printed in 2007 by digital xerographic process on acid-free paper V INDICATING KARMA: JAZZ AND THE BLACK ARTS MOVEMENT A Dissertation Presented by W.S. TKWEME Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 W.E.B.
    [Show full text]
  • DETROIT FOCUS QUARTERLY Volume 2 Number 2 J U N E 1 9 8 3 a Visual Arts Publication
    DETROIT FOCUS QUARTERLY Volume 2 Number 2 J u n e 1 9 8 3 A Visual Arts Publication A photograph Davidby Griffith from the Michigan Friends of Photography exhibition at Meadow Brook Gallery. See page 11. Judging the Jury System: jury system. Do you believe this is a valid way of selecting shows? P lag en s: An Interview with Peter Plagens I think a juried exhibition admits at the outset either that it is a by Dolores S. Slowinski regional show seeking judgment from a major urban art center or from a person from a major urban art center, or that it is something a little Peter Plagens is an artist and the author of The Sunshine Muse. He less professional, such as a juried show of student work. I don’t has written extensively for Art in America and Artforum and is Chair­ know of any serious, professional artist with any semblance of a man of the art department at the University of North Carolina at career in a major urban art center who submits to jurying, except in Chapel Hill. Mr. Plagens was interviewed on February 14, 1983, the most exceptional circumstances. Likewise, I don't submit to when he served as juror for the exhibition “ Peter Picks Paintings" at juries, but not as a matter of principle I submit to juries for such the Detroit Focus Gallery. The interview has been abridged. things as NEA artists fellowships, and I would submit to a jury if S lo w in s k i: there were a competition for a large work to go on a site I operate The Exhibition Committee wonders if there is any validity left to throughthe dealers, mainly three, one in New York, one in L A., and Continued next page Continued from cover Detroit Focus Quarterly Detroit Focus one in Chicago.
    [Show full text]
  • Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y
    Speakers Series : Rujeko Hockley Wednesday, November 27, 2017, 5:00 PM Center for Curatorial Studies at Bard College Annandale on Hudson, N.Y. 00:00:20:12 ALISON KARASYK: Hi, everyone. Hi. It is my great pleasure to introduce Rujeko Hockley for the CCS Fall 2017 Speaker Series. Ru joined the Whitney Museum of American Art as assistant curator last March. Prior, she was assistant curator of contemporary art at the Brooklyn Museum, where she curated numerous exhibitions, edited multiple publications, and worked on solo presentations of LaToya Ruby Frazier, Kehinde Wiley, and Tom Sachs, among others. Ru co-curated “Crossing Brooklyn: Art From Bushwick, Bed-Stuy and Beyond,” which opened in October, 2014. Shortly thereafter, she dove into co-organizing the landmark exhibition “We Wanted a Revolution: Black Radical Women, 1965-’85,” currently on view at the California African American Museum, and heading back to the East Coast, luckily for us, in February, to the Albright-Knox Art Gallery in Buffalo, and the ICA Boston after. 00:01:28:01 Ru co-produced two unique publications in conjunction with this exhibition. Prior to the exhibition, she wrote essays within and co-edited We Wanted a Revolution: A Sourcebook, made up of thirty-eight remarkable archival documents by artists, writers, and thinkers, such as bell hooks, the Combahee River Collective, and Linda Goode Bryant. During our office hour earlier, Ru described this publication to me as a way to transport the research materials that inspired the show into the world, instead of treating them as mere footnotes. The book is a powerful reminder of the ongoing curatorial necessity to move beyond the narratives that have already been written into art historical and feminist discourses.
    [Show full text]
  • In 1981, the Artist David Hammons and the Photographer Dawoud Bey Found Themselves at Richard Serra's T.W.U., a Hulking Corten
    Lakin, Chadd. “When Dawoud Bey Met David Hammons.” The New York Times. May 2, 2019. Bliz-aard Ball Sale I” (1983), a street action or performance by David Hammons that was captured on camera by Dawoud Bey, shows the artist with his neatly arranged rows of snowballs for sale in the East Village. Credit Dawoud Bey, Stephen Daiter Gallery In 1981, the artist David Hammons and the photographer Dawoud Bey found themselves at Richard Serra’s T.W.U., a hulking Corten steel monolith installed just the year before in a pregentrified and sparsely populated TriBeCa. No one really knows the details of what happened next, or if there were even details to know aside from what Mr. Bey’s images show: Mr. Hammons, wearing Pumas and a dashiki, standing near the interior of the sculpture, its walls graffitied and pasted over with fliers, urinating on it. Another image shows Mr. Hammons presenting identification to a mostly bemused police officer. Mr. Bey’s images are funny and mysterious and offer proof of something that came to be known as “Pissed Off” and spoken about like a fable — not exactly photojournalism, but documentation of a certain Hammons mystique. It wasn’t Mr. Hammons’ only act at the site, either. Another Bey image shows a dozen pairs of sneakers Mr. Hammons lobbed over the Serra sculpture’s steel lip, turning it into something resolutely his own. Soon after he arrived in New York, from Los Angeles, in 1974, Mr. Hammons began his practice of creating work whose simplicity belied its conceptual weight: sculptures rendered from the flotsam of the black experience — barbershop clippings and chicken wing bones and bottle caps bent to resemble cowrie shells — dense with symbolism and the freight of history.
    [Show full text]
  • Jack Whitten
    HAUSER & WIRTH Press Release Jack Whitten Hauser & Wirth New York, 22nd Street 26 January – 8 April 2017 Opening reception: Thursday 26 January, 6 – 8 pm New York… Beginning 26 January 2017, Hauser & Wirth is pleased to present its first exhibition devoted to the work of American abstractionist Jack Whitten. The show will feature selections from the artist’s newest bodies of work from 2015 – 2017, including tessellated paintings from the series Quantum Walls, and Portals; a piece from Whitten’s ongoing Black Monolith project honoring African-American visionaries; and assorted lenticular works on evolon. Lushly material explorations of space and its apertures, these works celebrate the distinctive painterly language that Whitten has developed over the course of a five-decade career. ‘Jack Whitten’ will remain on view at Hauser & Wirth’s West 22nd Street space through 8 April 2017. Moving to New York City to study art at Cooper Union in the early 1960s, Whitten was exposed to a range of influences, from the vigorous paintings of fellow artists Willem de Kooning and Norman Lewis, to the rich complexity HAUSER & WIRTH of bebop. Within this cultural milieu he developed an experimental style that combined the expressive physicality of gestural abstraction with the conceptual rigor of systems art. A radical breakthrough in 1970 provided the basis for his mode of working today: lifting a thick slab of acrylic paint off its support, Whitten realized that paint could be coaxed into the form of an independent object, challenging preexisting ideas about dimensionality in visual art. He began to lay sliced acrylic ribbons in wet, uneven fields of paint, mimicking the setting of mosaic tessarae into wet masonry.
    [Show full text]
  • Jury of the 57Th International Art Exhibition Has Been Appointed
    La Biennale di Venezia 57th International Art Exhibition VIVA ARTE VIVA The International Jury of the 57th International Art Exhibition has been appointed Venice, May 3rd, 2017 – The Board of Directors of La Biennale di Venezia chaired by Paolo Baratta has appointed, upon recommendation by the Artistic Director Christine Macel, the International Jury of the 57th International Art Exhibition (13 May > 26 November 2017) composed of the following members: Francesca Alfano Miglietti (Italy), Milan-based curator of exhibitions, shows, and conferences. FAM’s research focuses on the issues connected with contemporary changes, as well as an art theorist and lecturer. Manuel J. Borja-Villel (Spain), director of the Museo Nacional Centro de Arte Reina Sofía (MNCARS), and former director of the Fundació Antoni Tàpies in Barcelona and the Museu d'Art Contemporani de Barcelona (MACBA). Amy Cheng (Taiwan), Taipei-based curator and writer, co-founder of TheCube Project Space, which serves as an independent art space devoted to the research, production and presentation of contemporary art. Ntone Edjabe (Cameroon), journalist and DJ, founder of Chimurenga (a pan-African publication of art, culture, and politics based in Cape Town) and the Pan African Space Station (PASS), and winner of the Principal Award of the Prince Claus Awards in 2011. Mark Godfrey (Great Britain), Senior Curator, International Art at Tate Modern. He has organised several exhibitions on Sigmar Polke, Francis Alys, Richard Hamilton, and Abraham Cruzvillegas’s Turbine Hall commission.
    [Show full text]
  • My Life Has Been an Epic Adventure. —Jack Whitten Odyssey Tells The
    My life has been an epic adventure. —Jack Whitten Odyssey tells the incredible story of Jack Whitten’s life. room features early works that Whitten made in New York He traveled across the world, from Alabama to Crete; and kept in his studio there. In the following galleries, we he traveled through time, from the present to the ancient see the works he made in Crete in the decades after 1969, past and into the future. Whitten’s sculptures describe when he began spending summers on the island. He found this journey, and although he is widely recognized for his inspiration and common ground in objects from diverse achievements as an experimental painter, the sculptures African traditions and those of ancient Aegean cultures; are shared for the first time here. Odyssey includes examples of these objects, chosen by At the height of the Civil Rights movement the artist Whitten. In the final room of the exhibition, a series of came to New York, where he visited museums exhibiting paintings unfolds the relation between his sculpture and African art. He began carving wood to understand what he his painting practice, in technique and in spirit. saw: aesthetically, to feed his paintings, and culturally, in Jack Whitten’s legacy is his specific worldview: a cosmic terms of his identity as a Black American. He wrote, “The vision seen from the intersection of the African diaspora, African pieces speak to me directly. I feel their presence + I New York painting, the American South, European art can see their use value for me today.” The exhibition’s first history, and the global technological present.
    [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]
  • Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019
    Smithsonian American Art Museum February 11, 2019 Artists Respond: American Art and the Vietnam War, 1965–1975 March 15–August 18, 2019 Artists Respond: A Symposium: March 15, 9am–5:30pm Smithsonian American Art Museum Eighth and F Streets N.W. Washington, D.C. 20004 USA Hours: Monday–Sunday 11:30am– 7pm T +1 202 633 1000 Americanart.si.edu Martha Rosler, Red Stripe Kitchen, from the series "House Beautiful: Bringing the War Home," ca. 1967-72. Photomontage, Art Institute of Chicago, through prior gift of Adeline Yates. © Martha Rosler. Courtesy of the artist and Mitchell-Innes & Nash, New By the late 1960s, the United States was in pitched conflict both in Vietnam, against a foreign power, and at home—between Americans for and against the war, for and against the status quo. Artists Respond: American Art and the Vietnam War, 1965–1975 presents art created amid this turmoil, spanning the period from President Lyndon B. Johnson’s fateful https://www.e-flux.com/announcements/244630/artists-respond-american-art-and-the-vietnam-war-1965-1975/ decision to deploy U.S. ground troops to South Vietnam in 1965 to the fall of Saigon ten years later. The first national museum exhibition to examine the contemporary impact of the Vietnam War on American art, Artists Respond brings together nearly 100 works by 58 of the most visionary and provocative artists of the period. Galvanized by the moral urgency of the Vietnam War, these artists reimagined the goals and uses of art, affecting developments in multiple movements and media: painting, sculpture, printmaking, performance, installation, documentary art, and conceptualism.
    [Show full text]
  • Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016
    Benny Andrews Papers Renowned Master Visual Artist, Educator, Lecturer Activist and Arts Advocate 2016 MS-ARL104 Blair-Caldwell African American Research Library Denver Public Library Benny Andrews Papers PROVENANCE: The items in the collection were donated by Mr. Benny Andrews. ACCESS: The collection is open for research. OWNERSHIP: Literary rights and copyrights have been assigned to the Denver Public Library. PUBLICATION RIGHTS: All requests for permission to publish, reproduce, or quote from materials in the collection should be discussed with the appropriate librarian or archivist. Permission for publication may be given on behalf of the Denver Public Library as the owner of the physical item. It is not intended to include or imply permission of the copyright holder, which also must be obtained by the customer. The Library does not assume any responsibility for infringement of copyright or publication rights of the manuscript held by the writer, heirs, donors, or executors. Reproduction restrictions are decided on a case-by-case basis. PREFERRED CITATION: Benny Andrews Papers, MS-ARL104, Blair-Caldwell African American Research Library Collection, The Denver Public Library SIZE: 1 box (.25 linear feet) Location: AARL MS-ARL104; Rg6A; Sec5; Sf2, 1 Box PROCESSED by: Deborah Parsons, Volunteer Archivist PROJECT MANAGER: Charleszie Terr Nelson BIOGRAPHICAL NOTE: Benny Andrew was an internationally renowned master visual artist, educator and lecturer. The Benny Andrews Estate archives are housed at Eor Uiersits Rose Lirar. Additioal arhial materials are housed with the Andrews-Humphrey Family Foundation which oversees the estate. The Michael Rosenfeld Galler i Ne York eae the estates artisti represetatie i 2008.
    [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]
  • Anonymous Was a Woman Awards $250,000 to Women Artists Over the Age of 40
    Anonymous Was A Woman awards $250,000 to women artists over the age of 40 Ten artists receive unrestricted awards of $25,000 apiece in recognition of their work Virginia Jaramillo, Site No. 15 13.5099 S, 71.9817 W, 2018. Acrylic on canvas. Photo by Stan Narten. / Juana Valdés, Colored China Rags, 2017. Porcelain bone china. ​ ​ ​ November 18, 2020—Anonymous Was A Woman today announced the ten recipients of its 2020 awards, which recognize women-identifying artists over 40 years of age who have made significant contributions, while continuing to create new work, and who are each at a critical juncture in their practice. Each recipient receives an unrestricted award of $25,000. This marks the award’s 25th year, with more than $6 million awarded to 250 artists since 1996. The 2020 award recipients are: D.Y. Begay, 67 ​ Linda Goode Bryant, 71 ​ Barbara Chase-Riboud, 81 ​ Elena Del Rivero, 71 ​ Chitra Ganesh, 45 ​ Karen Gunderson, 77 ​ Virginia Jaramillo, 81 ​ Claudia Joskowicz, 52 ​ Karyn Olivier, 52 ​ Juana Valdés, 56 ​ Winners were chosen from among a competitive pool of applicants recommended by a group of distinguished art historians, curators, writers, and artists who serve as anonymous nominators. The 2020 award recipients range in age from 45 to 81, and work in mediums including painting, installation, performance, photography, film, and social practice. The “no strings-attached” award is intended to provide them freedom to continue development of their creative vision. Bios of each recipient follow. ​ Anonymous Was a Woman was founded by artist Susan Unterberg in 1996. In 2018, after more than two decades of anonymity, Unterberg revealed her identity as the founder and sole patron of the award program.
    [Show full text]