1971 Rebuttal to Whitney Museum Exhibition
Author | : Acts of Art, Inc |
Publisher | : |
Total Pages | : 18 |
Release | : 1971 |
Genre | : African American art |
ISBN | : |
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Author | : Acts of Art, Inc |
Publisher | : |
Total Pages | : 18 |
Release | : 1971 |
Genre | : African American art |
ISBN | : |
Author | : Howard Singeman |
Publisher | : |
Total Pages | : 103 |
Release | : 2018 |
Genre | : African American art |
ISBN | : 9781732009929 |
Author | : Robert M. Doty |
Publisher | : |
Total Pages | : 64 |
Release | : 1971 |
Genre | : African American art |
ISBN | : |
Author | : Sharon F. Patton |
Publisher | : Oxford University Press, USA |
Total Pages | : 328 |
Release | : 1998 |
Genre | : Art |
ISBN | : 9780192842138 |
Discusses African American folk art, decorative art, photography, and fine arts.
Author | : Susan E. Cahan |
Publisher | : Duke University Press |
Total Pages | : 377 |
Release | : 2016-01-28 |
Genre | : Art |
ISBN | : 0822374897 |
In Mounting Frustration Susan E. Cahan uncovers the moment when the civil rights movement reached New York City's elite art galleries. Focusing on three controversial exhibitions that integrated African American culture and art, Cahan shows how the art world's racial politics is far more complicated than overcoming past exclusions.
Author | : Darby English |
Publisher | : University of Chicago Press |
Total Pages | : 300 |
Release | : 2016-12-20 |
Genre | : Art |
ISBN | : 022627473X |
In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists’ desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color’s special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture’s preoccupation with color.
Author | : |
Publisher | : |
Total Pages | : 0 |
Release | : 1971 |
Genre | : African American art |
ISBN | : |
Author | : |
Publisher | : Primary Information |
Total Pages | : |
Release | : 2020-10-20 |
Genre | : Art |
ISBN | : 9781734489750 |
A prescient document of art-industry and museum critique from Black artists and writers, now in facsimile A collection of essays edited by artist and organizer Tom Lloyd and first published in 1971, Black Art Notes was a critical response to the Contemporary Black Artists in America exhibition at the Whitney Museum, but grew into a "concrete affirmation of Black Art philosophy as interpreted by eight Black artists," as Lloyd notes in the introduction. This facsimile edition features writings by Lloyd, Amiri Baraka, Melvin Dixon, Jeff Donaldson, Ray Elkins, Babatunde Folayemi, and Francis & Val Gray Ward. These artists position the Black Arts Movement outside of white, Western frameworks and articulate the movement as one created by and existing for Black people. Their essays outline the racism of the art world, condemning the attempts of museums and other white cultural institutions to tokenize, whitewash and neutralize Black art, and offer solutions through self-determination and immediate political reform. While the publication was created to respond to a particular moment, the systemic problems that it addresses remain pervasive, making these critiques both timely and urgent.
Author | : Lynn Zelevansky |
Publisher | : Prestel Publishing |
Total Pages | : 0 |
Release | : 2016 |
Genre | : Art |
ISBN | : 9783791355221 |
"This catalogue accompanies the first full US retrospective of the Brazilian artist Hélio Oiticica (1937-1980) in over two decades, organized by the Carnegie Museum of Art. It explores Oiticica's most acclaimed works, such as the "Parangolés" and the installation "Tropicália," as well as his involvement with music, literature, and response to Brazilian politics and the social environment. Essays by US and Latin American writers cover the entirety of his career, from his immersion in the 1960s counterculture to his life and work in New York City and final return to Rio de Janeiro, with special emphasis on his New York period between 1971 and 1978"--
Author | : Darby English |
Publisher | : University of Chicago Press |
Total Pages | : 300 |
Release | : 2016-12-20 |
Genre | : Art |
ISBN | : 022613105X |
Art historian Darby English is celebrated for working against the grain and plumbing gaps in historical narratives. In this book, he explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of black cultural politics: Contemporary Black Artists in America, shown at the Whitney Museum of American Art, and The DeLuxe Show, an integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto.1971 takes an insightful look at many black artists' desire to gain freedom from overt racial representation, as well as their and their advocates' efforts to further that aim through public exhibitions. Amid calls to define a "black aesthetic" or otherwise settle the race question, these experiments with modernist art favored cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The power and social importance of these experiments, English argues, came partly from color's special status as a racial metaphor and partly from investigations of color that were underway in formalist American art and criticism.