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"Clark, Kenneth"
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On the corner : African American intellectuals and the urban crisis
In July 1964, after a decade of intense media focus on civil rights protest in the Jim Crow South, a riot in Harlem abruptly shifted attention to the urban crisis embroiling America's northern cities.
eBook
On the Corner
In July 1964, after a decade of intense media focus on civil rights protest in the Jim Crow South, a riot in Harlem abruptly shifted attention to the urban crisis embroiling America's northern cities. On the Corner revisits the volatile moment when African American intellectuals were thrust into the spotlight as indigenous interpreters of black urban life to white America, and examines how three figures--Kenneth B. Clark, Amiri Baraka, and Romare Bearden--wrestled with the opportunities and dilemmas their heightened public statures entailed. Daniel Matlin locates in the 1960s a new dynamic that has continued to shape African American intellectual practice to the present day, as black urban communities became the chief objects of black intellectuals' perceived social obligations. Black scholars and artists offered sharply contrasting representations of black urban life and vied to establish their authority as indigenous interpreters. As a psychologist, Clark placed his faith in the ability of the social sciences to diagnose the damage caused by racism and poverty. Baraka sought to channel black fury and violence into essays, poems, and plays. Meanwhile, Bearden wished his collages to contest portrayals of black urban life as dominated by misery, anger, and dysfunction. In time, each of these figures concluded that their role as interpreters for white America placed dangerous constraints on black intellectual practice. The condition of entry into the public sphere for African American intellectuals in the post-civil rights era has been confinement to what Clark called \"the topic that is reserved for blacks.\"
eBook
Civilisation(s)
Aspects of the British Broadcasting Corp. television series Civilization: A Personal View by Kenneth Clark is discussed. Clark's new series takes in place of his chronological movement from the Dark Ages to the nineteenth century, each episode is, in effect, an essay on a particular theme, How do we look, on the body in art, and do we look, on the body in art, and the eye of faith, on religion and art, in the case of Beard's two episodes. This approach gives focus to what would otherwise be an unmanageably protean subject, the global history of art. The series also eschews the overarching themes that knitted together Clark's programmes. This comes quite close to stating that we substitute art for religion – a reasonable argument, perhaps, but it draws attention to one of the main contrasts between Civilisation and Civilisations. The first was written and presented by an art historian, the second by historians who write about art. The difference is perhaps more profound than has been acknowledged.
Journal Article
‘Looking for Civilisation, Discovering Clark’: ‘Kenneth Clark – Looking for Civilisation’, An Exhibition at Tate Britain, 20 May – 10 August 2014
This review focuses upon the art historiographical lessons to be learned from the ‘Kenneth Clark – Looking for Civilisation’ exhibition at Tate Britain. It considers the challenges represented by art galleries choosing to present displays centred on art historians generally and Clark in particular. The political contexts that existed during Clark’s career and the recent exhibition are mapped in order to explore both how the actions of this democratic patriarch were motivated by his understanding of the shortcomings of humanist and Marxist ideologies, and how an opportunity for reassessment has presented itself since the declining dominance of the New Art History.
Journal Article
Breaking the shell of the humanist egg : Kenneth Clark's University of London lectures on German art historians
When Kenneth Clark (1903-1983) delivered a set of two lectures at London University some time in 1930 an interesting confluence of art historiographical currents occurred. It provided an opportunity not only for a select university audience to hear about the talents and potential problems attending recent German scholarship in the field of art history, but also an occasion for a 27-year-old art historian, only just entering his field as a professional, to contemplate what kind of practitioner he would himself become. This article explores the reflective process Clark undertook in his close reading of the work of two of the most important art historians of the previous half-century--how he explained, critiqued and suggested supplementary processes for augmenting the theoretical machinery supplied by Alois Riegl (1858-1905) and Heinrich Wölfflin (1864-1945). [Publication Abstract]
Journal Article
Interrogating Joe Burke and His Legacy: The Joseph Burke Lecture 2005
Art history's history in Melbourne began with the appointment of Joseph Burke (1913-1992) to the Herald Chair of Fine Arts in 1946. Burke made a number of remarkable appointments with Ursula Hoff, Franz Phillip, and Bernard Smith to create the seminal department of art history in Australia. Burke's real field of expertise was in the English eighteenth century. Like many intellectuals of the diaspora, he transposed his scholarship to a different society. This article is based on Burke's correspondence with Daryl Lindsay and Kenneth Clark. Burke's support for Australian artists is analysed, notably Hugh Ramsay, Russell Drysdale and Sidney Nolan. (Author abstract)
Journal Article
On the Corner
In July 1964, after a decade of intense media focus on civil rights protest in the Jim Crow South, a riot in Harlem abruptly shifted attention to the urban crisis embroiling America's northern cities.On the Cornerrevisits the volatile moment when African American intellectuals were thrust into the spotlight as indigenous interpreters of black urban life to white America, and when black urban communities became the chief objects of black intellectuals' perceived social obligations. Daniel Matlin explores how the psychologist Kenneth B. Clark, the literary author and activist Amiri Baraka, and the visual artist Romare Bearden each wrestled with the opportunities and dilemmas of their heightened public stature. Amid an often fractious interdisciplinary debate, black intellectuals furnished sharply contrasting representations of black urban life and vied to establish their authority as indigenous interpreters. In time, however, Clark, Baraka, and Bearden each concluded that acting as interpreters for white America placed dangerous constraints on black intellectual practice.On the Cornerreveals how the condition of entry into the public sphere for African American intellectuals in the post-civil rights era has been confinement to what Clark called \"the topic that is reserved for blacks.\"
eBook
Who Speaks for Harlem? Kenneth B. Clark, Albert Murray and the Controversies of Black Urban Life
This article seeks to rebalance historical assessment of the debate between “pathologists” and “anti-pathologists” which dominated discussions of black urban life in the United States during the 1960s, and which continues to shape ideas about race and the urban environment today. The heated disagreement between the social psychologist Kenneth B. Clark (1914–2005) and the critic and novelist Albert Murray (1916–) presents an opportunity to consider not only the pitfalls and unintended consequences of pathologist representations of black urban life, which have received much attention from scholars in recent years, but also the problematic aspects of anti-pathologist discourse, which have largely been overlooked. The dispute between Clark and Murray also illuminates the intense competition among some African American intellectuals to claim the personal authenticity and disciplinary authority to define and represent black urban life – and to adjudicate the authenticity and authority of others.
Journal Article