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"Kirschke, Amy Helene"
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Women Artists of the Harlem Renaissance
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 this first book on the women artists of the Harlem Renaissance proclaim the legacy of Edmonia Lewis, Meta Vaux Warrick Fuller, Augusta Savage, Selma Burke, Elizabeth Prophet, Lois Maillou Jones, Elizabeth Catlett, and many other painters, sculptors, and printmakers.
In a time of more rigid gender roles, women artists faced the added struggle of raising families and attempting to gain support and encouragement from their often-reluctant spouses in order to pursue their art. They also confronted the challenge of convincing their fellow male artists that they, too, should be seen as important contributors to the artistic innovation of the era.
eBook
Into the night : cabarets and clubs in modern art
\"Ranging from the 1880s to the 1960s, this richly illustrated history of cafâes, cabarets and clubs in modern art includes both famed and little-known sites of the avant-garde. Organised by city, 'Into the Night' presents an exhilarating journey into a selection of social spaces across the world, from New York to Tehran, Paris, Mexico City, London, Berlin, Vienna, Ibadan and beyond. Bringing together painting, drawing, photography, sculpture, performance, film and archival material, this publication highlights the work of artists, performers, designers, musicians and writers such as Henri de Toulouse-Lautrec, Loèie Fuller, Josef Hoffmann, Wyndham Lewis and Giacomo Balla, as well as Ramâon Alva de la Canal, Theo van Doesburg, Sophie Taeuber-Arp, Jeanne Mammen, Anita Berber, Aaron Douglas, Jacob Lawrence, Colette Omogbai, Twins Seven-Seven and Parviz Tanavoli. Fourteen newly commissioned essays, accompanied by numerous artworks and rarely seen ephemera, explore how these unique spaces fostered a spririt of experimentation and collaboration, sparking new forms of artistic expression.\" --publisher's description, lower cover.
Book
LAURA WHEELER WARING AND THE WOMEN ILLUSTRATORS OF THE HARLEM RENAISSANCE
The Harlem Renaissance era offered unprecedented opportunities for women artists, and the new African American magazines of the time were the best prospect for women to publish their work. TheCrisismagazine, founded by the National Association for the Advancement of Colored People (NAACP) in 1910, andOpportunity Magazine, founded by the Urban League in 1923, were the two largest national journals where African American women were employed as freelance illustrators. TheCrisiswould become the journal most open to women illustrators, largely due to its founding editor, W. E. B. Du Bois. WhileOpportunityalso employed women illustrators, it
Book Chapter
DUBOIS AND \THE CRISIS\ MAGAZINE: IMAGING WOMEN AND FAMILY
Discusses the magazine The Crisis and its use of illustrations to express its opposition to racial prejudice, focusing on images of children, women and families. The author describes the political ideals of the founding editor W. E. B. DuBois, and examines Harry W. Matrons' illustration of a mixed-race family, reproduced from his painting 'The Drop Sinister' (1915; illus.), and the cover illustration 'Negro Family under the Protection of the NAACP' (1925; illus.) by Albert Alexander Smith. She considers DuBois's belief in the importance of black women in the struggle for equality, with reference to Henry Adams' cartoon 'Woman to the Rescue!' (1916; illus.), and concludes by stating that DuBois used a marriage of text and image to emphasise his most important messages.
Journal Article
Painting a Hidden Life: The Art of Bill Traylor
Sobel, through research and family interviews, reveals that Traylor's symbolism was not totally hidden: the artist was fighting back against racial terrorism and advocating retribution for lynchings and other acts of brutality against African Americans. Sobel also points to conjure practices, a growing black community in Montgomery, and music, including minstrelsy and the \"opportunities to drink and dance at local juke joints and to hear more blues music,\" as shaping Traylor and his work.
Book Review
From Greenwich Village to Taos: Primitivism and Place at Mabel Dodge Luhan's
Kirschke reviews From Greenwich Village to Taos: Primitivism and Place at Mabel Dodge Luhan's by Flannery Burke.
Book Review