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"Art and race."
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Contraband Guides
In his best-selling travel memoir, The Innocents Abroad , Mark Twain punningly refers to the black man who introduces him to Venetian Renaissance painting as a “contraband guide,” a term coined to describe fugitive slaves who assisted Union armies during the Civil War. By means of this and similar case studies, Paul H. D. Kaplan documents the ways in which American cultural encounters with Europe and its venerable artistic traditions influenced nineteenth-century concepts of race in the United States.
Americans of the Civil War era were struck by the presence of people of color in European art and society, and American artists and authors, both black and white, adapted and transformed European visual material to respond to the particular struggles over the identity of African Americans. Taking up the work of both well- and lesser-known artists and writers—such as the travel writings of Mark Twain and William Dean Howells, the paintings of German American Emanuel Leutze, the epistolary exchange between John Ruskin and Charles Eliot Norton, newspaper essays written by Frederick Douglass and William J. Wilson, and the sculpture of freed slave Eugène Warburg—Kaplan lays bare how racial attitudes expressed in mid-nineteenth-century American art were deeply inflected by European traditions.
By highlighting the contributions people of black African descent made to the fine arts in the United States during this period, along with the ways in which they were represented, Contraband Guides provides a fresh perspective on the theme of race in Civil War–era American art. It will appeal to art historians, to specialists in African American studies and American studies, and to general readers interested in American art and African American history.
eBook
Whitewalling : art, race & protest in 3 acts
In 2017, the Whitney Biennial included a painting by a white artist, Dana Schutz, of the lynched body of a young black child, Emmett Till. In 1979, anger brewed over a show at New York's Artists Space entitled Nigger Drawings. In 1969, the Metropolitan Museum of Art's exhibition Harlem on My Mind did not include a single work by a black artist. In all three cases, black artists and writers and their allies organized vigorous responses using the only forum available to them: public protest. 'Whitewalling: Art, Race, & Protest in 3 Acts' reflects on these three incidents in the long and troubled history of art and race in America. It lays bare how the art world - no less than the country at large - has persistently struggled with the politics of race, and the ways this struggle has influenced how museums, curators and artists wrestle with notions of free speech and the specter of censorship. 'Whitewalling' takes a critical and intimate look at these three \"acts\" in the history of the American art scene and asks: when we speak of artistic freedom and the freedom of speech, who, exactly, is free to speak?
Book
Making Race
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.
eBook
Contraband Guides
In his best-selling travel memoir, The Innocents
Abroad , Mark Twain punningly refers to the black man who
introduces him to Venetian Renaissance painting as a \"contraband
guide,\" a term coined to describe fugitive slaves who assisted
Union armies during the Civil War. By means of this and similar
case studies, Paul H. D. Kaplan documents the ways in which
American cultural encounters with Europe and its venerable artistic
traditions influenced nineteenth-century concepts of race in the
United States.
Americans of the Civil War era were struck by the presence of
people of color in European art and society, and American artists
and authors, both black and white, adapted and transformed European
visual material to respond to the particular struggles over the
identity of African Americans. Taking up the work of both well- and
lesser-known artists and writers-such as the travel writings of
Mark Twain and William Dean Howells, the paintings of German
American Emanuel Leutze, the epistolary exchange between John
Ruskin and Charles Eliot Norton, newspaper essays written by
Frederick Douglass and William J. Wilson, and the sculpture of
freed slave Eugène Warburg-Kaplan lays bare how racial attitudes
expressed in mid-nineteenth-century American art were deeply
inflected by European traditions.
By highlighting the contributions people of black African
descent made to the fine arts in the United States during this
period, along with the ways in which they were represented,
Contraband Guides provides a fresh perspective on the
theme of race in Civil War-era American art. It will appeal to art
historians, to specialists in African American studies and American
studies, and to general readers interested in American art and
African American history.
eBook
Collecting Objects / Excluding People
In Collecting Objects / Excluding People, Lenore Metrick-Chen demonstrates an unknown impact of Chinese immigration upon nineteenth-century American art and visual culture. The American ideas of \"Chineseness\" ranged from a negative portrayal to an admiring one and these varied images had an effect on museum art collections and advertising images. They brought new ideas into American art theory, anticipating twentieth-century Modernism. Metrick-Chen shows that efforts to construct a cultural democracy led to the creation of unforeseen new categories for visual objects and unanticipated social changes. Collecting Objects / Excluding People reveals the power of images upon culture, the influence of media representation upon the lives of Chinese immigrants, and the impact of political ideology upon the definition of art itself.
eBook
Represent
Patricia A. Banks traverses the New York and Atlanta art worlds to uncover how black identities are cultivated through black art patronage. Drawing on over 100 in-depth interviews, observations at arts events, and photographs of art displayed in homes, Banks elaborates a racial identity theory of consumption that highlights how upper-middle class blacks forge black identities for themselves and their children through the consumption of black visual art. She not only challenges common assumptions about elite cultural participation, but also contributes to the heated debate about the significance of race for elite blacks, and illuminates recent art world developments. In doing so, Banks documents how the salience of race extends into the cultural life of even the most socioeconomically successful blacks.
eBook