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Author: Samantha A. Noël
Publisher: Duke University Press
ISBN: 1478012897
Category : Art
Languages : en
Pages : 208
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Book Description
In Tropical Aesthetics of Black Modernism, Samantha A. Noël investigates how Black Caribbean and American artists of the early twentieth century responded to and challenged colonial and other white-dominant regimes through tropicalist representation. With depictions of tropical scenery and landscapes situated throughout the African diaspora, performances staged in tropical settings, and bodily expressions of tropicality during Carnival, artists such as Aaron Douglas, Wifredo Lam, Josephine Baker, and Maya Angelou developed what Noël calls “tropical aesthetics”—using art to name and reclaim spaces of Black sovereignty. As a unifying element in the Caribbean modern art movement and the Harlem Renaissance, tropical aesthetics became a way for visual artists and performers to express their sense of belonging to and rootedness in a place. Tropical aesthetics, Noël contends, became central to these artists’ identities and creative processes while enabling them to craft alternative Black diasporic histories. In outlining the centrality of tropical aesthetics in the artistic and cultural practices of Black modernist art, Noël recasts understandings of African diasporic art.
Author: Samantha A. Noël
Publisher: Duke University Press
ISBN: 1478012897
Category : Art
Languages : en
Pages : 208
Get Book Here
Book Description
In Tropical Aesthetics of Black Modernism, Samantha A. Noël investigates how Black Caribbean and American artists of the early twentieth century responded to and challenged colonial and other white-dominant regimes through tropicalist representation. With depictions of tropical scenery and landscapes situated throughout the African diaspora, performances staged in tropical settings, and bodily expressions of tropicality during Carnival, artists such as Aaron Douglas, Wifredo Lam, Josephine Baker, and Maya Angelou developed what Noël calls “tropical aesthetics”—using art to name and reclaim spaces of Black sovereignty. As a unifying element in the Caribbean modern art movement and the Harlem Renaissance, tropical aesthetics became a way for visual artists and performers to express their sense of belonging to and rootedness in a place. Tropical aesthetics, Noël contends, became central to these artists’ identities and creative processes while enabling them to craft alternative Black diasporic histories. In outlining the centrality of tropical aesthetics in the artistic and cultural practices of Black modernist art, Noël recasts understandings of African diasporic art.
Author: Michael Kelly
Publisher: Bloomsbury Publishing
ISBN: 1350294616
Category : Philosophy
Languages : en
Pages : 425
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Book Description
Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice.
Author: Ekow Eshun
Publisher: MIT Press
ISBN: 0262372142
Category : Art
Languages : en
Pages : 306
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Book Description
A richly illustrated exploration of Black culture at its most wildly imaginative, artistically ambitious, and politically urgent. A richly illustrated exploration of Black culture at its most wildly imaginative and artistically ambitious, In the Black Fantastic assembles art and imagery from across the African diaspora. Embracing the mythic and the speculative, it recycles and reconfigures elements of fable, folklore, science fiction, spiritual traditions, ceremonial pageantry, and the legacies of Afrofuturism. In works that span photography, painting, sculpture, cinema, graphic arts, music and architecture, In the Black Fantastic shows how speculative fictions in Black art and culture are boldly reimagining perspectives on race, gender and identity. Standing apart from Western narratives of progress and modernity premised on the historical subjugation of people of color, In the Black Fantastic celebrates the ways that Black artists draw inspiration from African-originated myths, beliefs, and knowledge systems, confounding the Western dichotomy between the real and unreal, the scientific and the supernatural. Featuring more than 300 color illustrations, this beautifully designed book brings together works by leading artists such as Kara Walker, Chris Ofili, and Ellen Gallagher; explores groundbreaking films like Daughters of the Dust and Get Out; considers the radical politics of pan-Africanism and postcolonialism; and much more. Each section—“Invocation,” “Migration,” and “Liberation”—includes an introductory text by Ekow Eshun and longer essays by Eshun, Kameelah L. Martin, and Michelle D. Commander. Artists featured: Larry Achiampong, Jim Adams, Djeneba Aduayom, Leonce Raphael Agbodjelou, John Akomfrah, David Alabo, Edgar Arceneaux, Marc Asekhame, Belkis Ayón, Radcliffe Bailey, Raphaël Barontini, Beddo, Sanford Biggers, Nuotama Bodomo, Nick Cave, Sedrick Chisom, Jacek Chyrosz, Coldefy, Raffaele Contigiani, Damon Davis, Cristina de Middel, Imani Dennison, Jeff Donaldson, Kimathi Donkor, Aaron Douglas, Edouard Duval-Carrié, Curtis Essel, Minnie Evans, Rotimi Fani-Kayode, Ali Fao, Raymond Thomas Farah, Adama Delphine Fawundu, Heinz Fenchel, Ellen Gallagher, Rico Gatson, Maïmouna Guerresi, Prince Gyasi, Lauren Halsey, Allison Janae Hamilton, Thomas Heatherwick, Kiluanji Kia Henda, Kordae Jatafa Henry, David Huffman, Juliana Huxtable, Zas Ieluhee, Alex Jackson, Ayana V. Jackson, Fabiola Jean-Louis, Shintaro Kago, Kéré Architecture, Black Kirby, Victoria Kovios, Wole Lagunju, Wifredo Lam, Jean François Lamoureux, Thomas Leitersdorf, Namsa Leuba, Hew Locke, Michael MacGarry, Gerald Machona, Loïs Mailou Jones, Jean-Louis Marin, Markn, Kerry James Marshall, Moshel Mayer, Mohau Modisakeng, Puleng Mongale, Fabrice Monteiro, Ronald Moody, Kristin-Lee Moolman, Jean-Claude Moschetti, Aïda Muluneh, Wangechi Mutu, Gustavo Nazareno, Rashaad Newsome, Daniel Obasi, Toyin Ojih Odutola, Chris Ofili, Ruby Okoro, Rinaldo Olivieri, Yaoundé Olu, Zohra Opoku, Tasha Orlova, Frida Orupabo, Gordon Parks, Jordan Peele, James Phillips, Naudline Pierre, Keith Piper, Robert Pruitt, Umar Rashid, Robert Reed, Tabita Rezaire, Stacey Robinson, Athi-Patra Ruga, Stanisław Rymaszewski, Alison Saar, Zina Saro-Wiwa, Ignace Sawadogo, Devan Shimoyama, Yinka Shonibare, Mary Sibande, Lorna Simpson, Cauleen Smith, Tavares Strachan, Mickalene Thomas, Bob Thompson, Wilfred Ukpong, David Uzochukwu, Lina Iris Viktor, William Villalongo, Hannsjörg Voth, Kara Walker, Gerald Williams, Kandis Williams, Peter Williams, Saya Woolfalk, Alisha B. Wormsley, Zaha Hadid Architects
Author: Jennifer Carolina Gómez Menjívar
Publisher: State University of New York Press
ISBN: 1438492839
Category : Literary Criticism
Languages : en
Pages : 351
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Book Description
Black in Print examines the role of narrative, from traditional writing to new media, in conversations about race and belonging in the isthmus. It argues that the production, circulation, and consumption of stories has led to a trans-isthmian imaginary that splits the region along racial and geographic lines into a white-mestizo Pacific coast, an Indigenous core, and a Black Caribbean. Across five chapters, Jennifer Carolina Gómez Menjívar identifies a series of key moments in the history of the development of this imaginary: Independence, Intervention, Cold-War, Post-Revolutionary, and Digital Age. Gómez Menjívar's analysis ranges from literary beacons such as Rubén Darío and Miguel Ángel Asturias to less studied intellectuals such as Wingston González and Carl Rigby. The result is a fresh approach to race, the region, and its literature. Black in Print understands Central American Blackness as a set of shifting coordinates plotted on the axes of language, geography, and time as it moves through print media.
Author: Basia Sliwinska
Publisher: Bloomsbury Publishing USA
ISBN: 1501358731
Category : Art
Languages : en
Pages : 313
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Book Description
Transnational Belonging and Female Agency in the Arts interrogates the politics of space expressed via womxn's artistic practices, which prioritise solidarity and collaboration across borders, imagining attentive geographies of difference. It considers belonging as a manifestation of processes of becoming that traverse borders and generate new spaces and forms of difference. In doing so, the book aims to catalyse mutual social relations founded upon responsibility and response-ability to each other. The transnational framework activates concerns around belonging at a time of intensified divisions, partitioning global narratives, unequal trajectories and increasing violence against bodies of the most vulnerable, largely founded on Eurocentric paradigms of political, economic and cultural superiority. The contributors engage in a conversation signalling transversal thinking and artmaking in order to articulate and activate 'in-between' spaces. This is to welcome co-affective models of belonging that question versatile embodiments of subjectivity as both agentic and as interrelational. Organised around the triangulation of modes of belonging: spatial, affective and collective, overarched by a transnational lens that acknowledges non-hierarchical, local and socially relevant genealogies against universalising politics of globalisation, these essays consider afresh ways in which female agency disrupts borders and activates concerns around different forms of belonging, citizenship and transnationalisms. Cover Image credit: Keren Anavy, Garden of Living Images (2018), general installation view (detail). Courtesy of the artist and Wave Hill. Photographer: Stefan Hagen
Author: Jennifer A. Gonzalez
Publisher: MIT Press
ISBN: 0262516020
Category : Art
Languages : en
Pages : 315
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Book Description
An exploration of the visual culture of “race” through the work of five contemporary artists who came to prominence during the 1990s. Over the past two decades, artists James Luna, Fred Wilson, Amalia Mesa-Bains, Pepón Osorio, and Renée Green have had a profound impact on the meaning and practice of installation art in the United States. In Subject to Display, Jennifer González offers the first sustained analysis of their contribution, linking the history and legacy of race discourse to innovations in contemporary art. Race, writes González, is a social discourse that has a visual history. The collection and display of bodies, images, and artifacts in museums and elsewhere is a primary means by which a nation tells the story of its past and locates the cultures of its citizens in the present. All five of the American installation artists González considers have explored the practice of putting human subjects and their cultures on display by staging elaborate dioramas or site-specific interventions in galleries and museums; in doing so, they have created powerful social commentary of the politics of space and the power of display in settings that mimic the very spaces they critique. These artists' installations have not only contributed to the transformation of contemporary art and museum culture, but also linked Latino, African American, and Native American subjects to the broader spectrum of historical colonialism, race dominance, and visual culture. From Luna's museum installation of his own body and belongings as “artifacts” and Wilson's provocative juxtapositions of museum objects to Mesa-Bains's allegorical home altars, Osorio's condensed spaces (bedrooms, living rooms; barbershops, prison cells) and Green's genealogies of cultural contact, the theoretical and critical endeavors of these artists demonstrate how race discourse is grounded in a visual technology of display.
Author: Jennifer M. Wilks
Publisher: LSU Press
ISBN: 0807134872
Category : Literary Criticism
Languages : en
Pages : 272
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Book Description
Race, Gender, and Comparative Black Modernism revives and critiques four African American and Francophone Caribbean women writers sometimes overlooked in discussions of early-twentieth-century literature: Guadeloupean Suzanne Lacascade (dates unknown), African American Marita Bonner (1899--1971), Martinican Suzanne Césaire (1913--1966), and African American Dorothy West (1907--1998). Reexamining their most significant work, Jennifer M. Wilks demonstrates how their writing challenges prevailing racial archetypes -- such as the New Negro and the Negritude hero -- of the period from the 1920s to the 1940s, and explores how these writers tapped into modernist currents from expressionism to surrealism to produce progressive treatments of race, gender, and nation that differed from those of currently canonized black writers of the era, the great majority of whom are men. Wilks begins with Lacascade, whom she deems "best known for being unknown," reading Lacascade's novel Claire-Solange, âme africaine (1924) as a protofeminist, proto-Negritude articulation of Caribbean identity. She then examines the fissures left unexplored in New Negro visions of African American community by showing the ways in which Bonner's essays, plays, and short stories highlight issues of economic class. Césaire applied the ideas and techniques of surrealism to the French language, and Wilks reveals how her writings in the journal Tropiques (1941-45) directly and insightfully engage the intellectual influences that informed the work of canonical Negritude. Wilks' close reading of West's The Living Is Easy (1948) provides a retrospective critique of the forces that continued to circumscribe women's lives in the midst of the social and cultural awakening presumably embodied in the New Negro. To show how the black literary tradition has continued to confront the conflation of gender roles with social and literary conventions, Wilks examines these writers alongside the late twentieth-century writings of Maryse Condé and Toni Morrison. Unlike many literary analysts, Wilks does not bring together the four writers based on geography. Lacascade and Césaire came from different Caribbean islands, and though Bonner and West were from the United States, they never crossed paths. In considering this eclectic group of women writers together, Wilks reveals the analytical possibilities opened up by comparing works influenced by multiple intellectual traditions.
Author: Iain Jackson
Publisher: Routledge
ISBN: 131704486X
Category : Architecture
Languages : en
Pages : 406
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Book Description
Maxwell Fry and Jane Drew were pioneers of Modern Architecture in Britain and its former colonies from the late 1920s through to the early 1970s. As a barometer of twentieth century architecture, their work traces the major cultural developments of that century from the development of modernism, its spread into the late-colonial arena and finally, to its re-evaluation that resulted in a more expressive, formalist approach in the post-war era. This book thoroughly examines Fry and Drew's highly influential 'Tropical Architecture' in West Africa and India, whilst also discussing their British work, such as their post World War II projects for the Festival of Britain, Harlow New Town, Pilkington Brothers’ Headquarters and Coychurch Crematorium. It highlights the collaborative nature of Fry and Drew's work, including schemes undertaken with Elizabeth Denby, Walter Gropius, Denys Lasdun, Pierre Jeanneret and Le Corbusier. Positioning their architecture, writing and educational endeavours within a wider context, this book illustrates the significant artistic and cultural contributions made by Fry and Drew throughout their lengthy careers.
Author: Rachel Farebrother
Publisher: Cambridge University Press
ISBN: 1108640508
Category : Literary Criticism
Languages : en
Pages : 453
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Book Description
The Harlem Renaissance was the most influential single movement in African American literary history. The movement laid the groundwork for subsequent African American literature, and had an enormous impact on later black literature world-wide. In its attention to a wide range of genres and forms – from the roman à clef and the bildungsroman, to dance and book illustrations – this book seeks to encapsulate and analyze the eclecticism of Harlem Renaissance cultural expression. It aims to re-frame conventional ideas of the New Negro movement by presenting new readings of well-studied authors, such as Zora Neale Hurston and Langston Hughes, alongside analysis of topics, authors, and artists that deserve fuller treatment. An authoritative collection on the major writers and issues of the period, A History of the Harlem Renaissance takes stock of nearly a hundred years of scholarship and considers what the future augurs for the study of 'the New Negro'.
Author: Heather Hathaway
Publisher: Oxford University Press
ISBN: 0195352629
Category : Literary Criticism
Languages : en
Pages : 281
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Book Description
Definitions of modernism have been debated throughout the twentieth century. But both during the height of the modernist era and since, little to no consideration has been given to the work of minority writers as part of this movement. Considering works by writers ranging from B.A. Botkin, T.S. Eliot, Waldo Frank, and Jean Toomer to Pedro Pietri and Allen Ginsberg, these essays examine the disputed relationships between modernity, modernism, and American cultural diversity. In so doing, the collection as a whole adds an important new dimension to our understanding of twentieth-century literature.
