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  1. Charles White
    the Gordon gift to the University of Texas
    Contributor: Roberts, Veronica (Publisher); Adler, Esther (Publisher); White, Charles
    Published: 2019
    Publisher:  University of Texas Press, Austin ; Tower Books

    Location:
    Bayerische Staatsbibliothek
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    Location:
    Zentralinstitut für Kunstgeschichte, Bibliothek
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    Source: Union catalogues
    Contributor: Roberts, Veronica (Publisher); Adler, Esther (Publisher); White, Charles
    Language: English
    Media type: Book
    ISBN: 9781477320020; 1477320024
    Edition: First edition
    Subjects: Sammlung; Rezeption; Umkreis; Künstler; Zeichnung; Schwarze <Motiv>
    Other subjects: White, Charles (1918-1979); White, Charles / 1918-1979 / Criticism and interpretation; White, Charles / 1918-1979 / Catalogs; University of Texas at Austin / Art collections / Catalogs; Blanton Museum of Art / Catalogs; African American art / 20th century / Catalogs; African American artists / 20th century; ART / American / African American; White, Charles / 1918-1979; Blanton Museum of Art; University of Texas at Austin; African American art; African American artists; Art museums; 1900-1999; Catalogs; Criticism, interpretation, etc
    Scope: viii, 125 Seiten, Illustrationen, Portraits, 31 cm
    Notes:

    pt. 1. Short essays -- pt. 2. Excerpts from an interview with Drs. Edmund W. Gordon and Edmund T. "Ted" Gordon / conducted and edited by Cherise Smith ; transcribed Lynne Maphies -- pt. 3. Sphere of influence / compiled, with biographical introductions by Veronica Roberts
  2. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: c2012
    Publisher:  University of Washington Press, Seattle

    Location:
    Ostbayerische Technische Hochschule Amberg-Weiden / Hochschulbibliothek Amberg
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    Location:
    Ostbayerische Technische Hochschule Amberg-Weiden, Hochschulbibliothek, Standort Weiden
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 0295804335; 9780295804330
    Subjects: ART / American / African American; ART / American / Asian American; SOCIAL SCIENCE / Ethnic Studies / General; ART / History / General; Art and race; Art criticism; Modernism (Art); Painting, American; Geschichte; Modernism (Art); Painting, American; Art criticism; Art and race; Künstler; Minderheit; Malerei; Ethnizität <Motiv>
    Other subjects: Johnson, Malvin Gray / 1896-1934 / Criticism and interpretation / Criticism and interpretation / Criticism and interpretation; Kuniyoshi, Yasuo / 1889-1953 / Criticism and interpretation / Criticism and interpretation / Criticism and interpretation; Weber, Max / 1881-1961 / Criticism and interpretation / Criticism and interpretation / Criticism and interpretation; Johnson, Malvin Gray / 1896-1934; Kuniyoshi, Yasuo / 1889-1953; Weber, Max / 1881-1961; Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961); Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961)
    Scope: 1 Online-Ressource (xiv, 250 p.)
    Notes:

    "A McLellan book."

    Includes bibliographical references and index

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher

    "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher

    Introduction -- The meanings of modernism -- Making race in American religious painting -- Type/face/mask: racial portraiture -- The race of landscape -- Conclusion
  3. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: 2012
    Publisher:  Univ. of Washington Press, Seattle [u.a.]

    Location:
    Universitätsbibliothek Erlangen-Nürnberg, Hauptbibliothek
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    Location:
    Bayerische Staatsbibliothek
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    Location:
    Zentralinstitut für Kunstgeschichte, Bibliothek
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    Source: Union catalogues
    Language: English
    Media type: Book
    ISBN: 9780295991450
    Subjects: Geschichte; Modernism (Art); Painting, American; Art criticism; Art and race; ART / American / African American; ART / American / Asian American; SOCIAL SCIENCE / Ethnic Studies / General; Künstler; Minderheit; Ethnizität <Motiv>; Malerei
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961); Johnson, Malvin Gray (1896-1934); Weber, Max (1881-1961); Kuniyoshi, Yasuo (1889-1953)
    Scope: XIV, 250 S., [4] Bl., Ill.
    Notes:

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"-- Provided by publisher. -- "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"-- Provided by publisher.

    Includes bibliographical references and index
  4. Black cultural production after civil rights
    Contributor: Patterson, Robert J (Herausgeber)
    Published: [2019]
    Publisher:  University of Illinois Press, Urbana

    Location:
    Universitäts- und Stadtbibliothek Köln, Hauptabteilung
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    Location:
    Landesbibliothekszentrum Rheinland-Pfalz / Pfälzische Landesbibliothek
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  5. Making race
    modernism and "racial art" in America
    Author: Francis, Jacqueline
    Published: 2012
    Publisher:  Univ. of Washington Press, Seattle [u.a.]

    Location:
    Freie Universität Berlin, Universitätsbibliothek
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    Location:
    Staatliche Museen zu Berlin, Preußischer Kulturbesitz, Kunstbibliothek
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    Source: Philologische Bibliothek, FU Berlin
    Language: English
    Media type: Book
    ISBN: 9780295991450
    Subjects: Geschichte; Modernism (Art); Painting, American; Art criticism; Art and race; ART / American / African American; ART / American / Asian American; SOCIAL SCIENCE / Ethnic Studies / General; Künstler; Minderheit; Ethnizität <Motiv>; Malerei
    Other subjects: Johnson, Malvin Gray (1896-1934); Kuniyoshi, Yasuo (1889-1953); Weber, Max (1881-1961); Johnson, Malvin Gray (1896-1934); Weber, Max (1881-1961); Kuniyoshi, Yasuo (1889-1953)
    Scope: XIV, 250 S., [4] Bl., Ill.
    Notes:

    "Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"-- Provided by publisher. -- "A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"-- Provided by publisher.

    Includes bibliographical references and index
  6. Millennial style
    the politics of experiment in contemporary African diasporic culture
    Author: Abdur-Rahman, Aliyyah I.
    Published: 2024
    Publisher:  Duke University Press, Durham

    "Millennial Style examines recent Black experiments in writing and the visual arts that start from a place of trauma. Aliyyah Abdur-Rahman's work underscores that all the millennial attempts-artistic and political-to gain full human citizenship have... more

     

    "Millennial Style examines recent Black experiments in writing and the visual arts that start from a place of trauma. Aliyyah Abdur-Rahman's work underscores that all the millennial attempts-artistic and political-to gain full human citizenship have failed to change the ongoing situation and danger of Black lives. Where earlier Black writers might have employed a more realist mode to make a case for justice, the Black avant-garde work of today reaches for more experimental ways to convey the horrors of the changing same. The chapters outline four modes that have been widely employed: Black Grotesquerie, Hollowed Blackness, Black Cacophony, and the Black Ecstatic. Each chapter explores a particular form using Black feminist and queer theory along with examples from across different arts"-- Aliyyah I. Abdur-Rahman examines how contemporary avant-garde black art and writing by Wangechi Mutu, Marci Blackman, Alexandria Smith, Colson Whitehead, Toni Morrison, Harmony Holiday, and Essex Hemphill use experimental methods to represent and imaginatively remediate racial harm

     
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    Cover (lizenzpflichtig)
  7. The specter and the speculative
    afterlives and archives in the African diaspora
    Contributor: Henderson, Mae (HerausgeberIn); Scheper, Jeanne (HerausgeberIn); Melton, Gene (HerausgeberIn)
    Published: [2024]
    Publisher:  Rutgers University Press, New Brunswick, NJ

    "The Specter and the Speculative: Afterlives and Archives in the African Diaspora engages in a critical conversation about how historical subjects and historical texts within the African Diaspora are re-fashioned, re-animated, and re-articulated, as... more

     

    "The Specter and the Speculative: Afterlives and Archives in the African Diaspora engages in a critical conversation about how historical subjects and historical texts within the African Diaspora are re-fashioned, re-animated, and re-articulated, as well as parodied, nostalgized, and defamiliarized, to establish an "afterlife" for African Atlantic identities and narratives. These essays focus on transnational, transdisciplinary, and transhistorical sites of memory and haunting--textual, visual, and embodied performances--in order to examine how these "living" archives circulate and imagine anew the meanings of prior narratives liberated from their original context. Individual essays examine how historical and literary performances--in addition to film, drama, music, dance, and material culture--thus revitalized, transcend and speak across temporal and spatial boundaries not only to reinstate traditional meanings, but also to motivate fresh commentary and critique. Emergent and established scholars representing diverse disciplines and fields of interest specifically engage under explored themes related to afterlives, archives, and haunting"--

     
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    Source: Union catalogues
    Contributor: Henderson, Mae (HerausgeberIn); Scheper, Jeanne (HerausgeberIn); Melton, Gene (HerausgeberIn)
    Language: English
    Media type: Book
    Format: Print
    ISBN: 9781978834064; 9781978834071
    Subjects: African Americans in popular culture; African Americans; African Americans; Future life; Collective memory; LITERARY CRITICISM / American / African American & Black; SOCIAL SCIENCE / Ethnic Studies / American / African American & Black Studies; ART / American / African American; ART / History / General; Black & Asian studies; Ethnic Studies; Ethnic minorities & multicultural studies; Ethnic studies; HISTORY / Social History; History of art / art & design styles; Kunstgeschichte; LIT025060; LITERARY CRITICISM / American / African American; LITERARY CRITICISM / American / General; Literary studies: general; Literaturwissenschaft, allgemein; SOC069000; SOCIAL SCIENCE / Ethnic Studies / General; Social & cultural history; Sozial- und Kulturgeschichte
    Scope: pages cm
    Notes:

    Includes bibliographical references and index

    Zielgruppe: 5PB, Bezug zu Personen: ethnische Gruppen, indigene Völker, Kulturen, Stämme und andere Gruppierungen von Menschen

    Zielgruppe: 5PB-US-C, Bezug zu Afroamerikanern

    Relayed Trauma and the Spectral Oceanic Archive in M. NourbeSe Philip's "Zong!" / Diana Arterian -- "Step in Step in, Hur-ry! Hur-ry! : Diaspora, Trauma, and "Rep & Rev" in Suzan-Lori Parks's "Venus" / Christopher Giroux -- Yoruba Visions of the Afterlife in Phyllis Alesia Perry's "Stigmata" / Stella Setka -- The Sonic Afterlives of Hester's Scream : The Reverberating Aesthetic of Black Women's Pain in the Black Nationalist Imagination from Slavery to Black Lives Matter / Meina Yates-Richard -- Mumia Abu-Jamal and Harriet Jacobs : Sound, Spectrality, and the Counter Narrative / Luis Omar Ceniceros -- Forbidding Mourning : Disrupted Sites of Memory and the Tupac Shakur Hologram / Danielle Fuentes Morgan -- The Afterlife in Audio, Apparel, and Art : Hip Hop, Mourning, and the Posthumous / Shamika Ann Mitchell -- Dreaming of "Life After Death When You're Ready to Die" : Notorious B.I.G. and the Sonic Potentialities of Black Afterlife / Andrew R. Belton -- "We ain't even really rappin', we just letting our dead homies tell stories for us" : Kendrick Lamar, Radical Popular Hip Hop, and the Specters of Slavery and Its Afterlife / Kim White -- DNA as Cultural Memory : Posthumanism in Octavia Butler's "Fledgling" and Nnedi Okorafor's "The Book of Phoenix" / Sheila Smith McKoy -- Ghosts of Traumatic Cultural Memory : Haunting, Posthumanism, and Animism in Daniel Black's "The Sacred Place" and Bernice L. McFadden's "Gathering of Waters" / Pekka Kilpeläinen -- Africa in Horror Cinema : A Critical Survey / Fernando Gabriel Pagnoni Berns, Emiliano Aguilar, and Juan Ignacio Juvé -- Mapping Loss as Performative Research in Ralph Lemon's "Come home Charley Patton" / Kajsa K. Henry -- Remembering and Resurrecting Bad N*ggers and Dark Villains : Walking with the Ghosts That Ain't Gone / McKinley E. Melton -- Mourning Trayvon Martin : Elegiac Responsibility in Claudia Rankine's "Citizen: An American Lyric" / Emily Ruth Rutter.
  8. Black cultural production after civil rights
    Contributor: Patterson, Robert J. (Herausgeber)
    Published: [2019]
    Publisher:  University of Illinois Press, Urbana

    Location:
    Historisches Institut, Abteilung für Nordamerikanische Geschichte, Bibliothek
    Signature:
    422/700.9Bla/Pat
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    Location:
    Landesbibliothekszentrum Rheinland-Pfalz / Pfälzische Landesbibliothek
    Signature:
    120-94
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  9. Antagonistic cooperation
    Jazz, collage, fiction, and the shaping of African American culture
    Author: O'Meally, Robert G
    Published: [2022]
    Publisher:  Columbia University Press, New York

    Ralph Ellison famously characterized ensemble jazz improvisation as “antagonistic cooperation.” Both collaborative and competitive, musicians play with and against one another to create art and community. In Antagonistic Cooperation, Robert G.... more

    Location:
    Universitätsbibliothek Bielefeld
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    Ralph Ellison famously characterized ensemble jazz improvisation as “antagonistic cooperation.” Both collaborative and competitive, musicians play with and against one another to create art and community. In Antagonistic Cooperation, Robert G. O’Meally shows how this idea runs throughout twentieth-century African American culture to provide a new history of Black creativity and aesthetics.From the collages of Romare Bearden and paintings of Jean-Michel Basquiat to the fiction of Ralph Ellison and Toni Morrison to the music of Louis Armstrong and Duke Ellington, O’Meally explores how the worlds of African American jazz, art, and literature have informed one another. He argues that these artists drew on the improvisatory nature of jazz and the techniques of collage not as a way to depict a fractured or broken sense of Blackness but rather to see the Black self as beautifully layered and complex. They developed a shared set of methods and motives driven by the belief that art must involve a sense of community. O’Meally’s readings of these artists and their work emphasize how they have not only contributed to understanding of Black history and culture but also provided hope for fulfilling the broken promises of American democracy

     
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    Source: Union catalogues
    Language: English
    Media type: Book
    Format: Print
    ISBN: 9780231189187; 9780231189194
    Other identifier:
    9780231189187
    Series: Leonard Hastings Schoff lectures
    Subjects: MUSIC / Genres & Styles / Jazz; LITERARY CRITICISM / Modern / 20th Century; ART / American / African American
    Other subjects: Amerikanische Literatur; 20. Jahrhundert (1900 - 2000; Jazz; USA; Literarische Strömungen & Epochen; Kunstgeschichte
    Scope: xiii, 275 Seiten, Illustrationen, 235 mm
  10. Women Artists of the Harlem Renaissance
    Author: Kirschke, Amy Helene
    Published: 2014
    Publisher:  University Press of Mississippi, Jackson

    Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also... more

    Location:
    Universitätsbibliothek Erfurt / Forschungsbibliothek Gotha, Universitätsbibliothek Erfurt
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    Location:
    Universitäts- und Landesbibliothek Sachsen-Anhalt / Zentrale
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    Helmut-Schmidt-Universität, Universität der Bundeswehr Hamburg, Universitätsbibliothek
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    Location:
    Duale Hochschule Baden-Württemberg Heidenheim, Bibliothek
    Signature:
    e-Book Academic Complete
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    Location:
    Bibliothek LIV HN Sontheim
    Signature:
    ProQuest Academic Complete
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    Bibliothek LIV HN Sontheim
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    ProQuest Academic Complete
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    Duale Hochschule Baden-Württemberg Stuttgart, Campus Horb, Bibliothek
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    eBook ProQuest
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    Location:
    Universitätsbibliothek Kiel, Zentralbibliothek
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    Location:
    Duale Hochschule Baden-Württemberg Lörrach, Zentralbibliothek
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    eBook ProQuest
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    Location:
    Duale Hochschule Baden-Württemberg Mannheim, Bibliothek
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    ProQuest
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    Location:
    Duale Hochschule Baden-Württemberg Mosbach, Bibliothek
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    E-Books ProQuest Academic
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    Location:
    Hochschulbibliothek Friedensau
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    Online-Ressource
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    Duale Hochschule Baden-Württemberg Ravensburg, Bibliothek
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    E-Book Proquest
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    Duale Hochschule Baden-Württemberg Stuttgart, Bibliothek
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    Location:
    Kommunikations-, Informations- und Medienzentrum der Universität Hohenheim
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    Location:
    Duale Hochschule Baden-Württemberg Villingen-Schwenningen, Bibliothek
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    EBS ProQuest
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    Women artists of the Harlem Renaissance dealt with issues that were unique to both their gender and their race. They experienced racial prejudice, which limited their ability to obtain training and to be taken seriously as working artists. They also encountered prevailing sexism, often an even more serious barrier. Including seventy-two black and white illustrations, this book chronicles the challenges of women artists, who are in some cases unknown to the general public, and places their achievements in the artistic and cultural context of early twentieth-century America. Contributors to th

     
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    Source: Union catalogues
    Language: English
    Media type: Ebook
    Format: Online
    ISBN: 9781628460339
    Subjects: ART / American / African American; Electronic books
    Scope: Online-Ressource (272 p)
    Notes:

    Description based upon print version of record

    Cover; Title; Copyright; Contents; Acknowledgments; Introduction; CHAPTER ONE: Harlem and the Renaissance: 1920-1940; CHAPTER TWO: Lifting as She Climbed: Mary Edmonia Lewis, Representing and Representative; CHAPTER THREE: Meta Warrick Fuller's Ethiopia and the America's Making Exposition of 1921; CHAPTER FOUR: Laura Wheeler Waring and the Women Illustrators of the Harlem Renaissance; CHAPTER FIVE: May Howard Jackson, Beulah Ecton Woodard, and Selma Burke; CHAPTER SIX: Modern Dancers and African Amazons: Augusta Savage's Daring Sculptures of Women, 1929-1930

    CHAPTER SEVEN: The Wide-Ranging Significance of Loïs Mailou JonesCHAPTER EIGHT: Elizabeth Catlett: Inheriting the Legacy; List of Contributors; Index; A; B; C; D; E; F; G; H; I; J; K; L; M; N; O; P; Q; R; S; T; U; V; W; Y; Z