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| Author | : James Amos Porter |
| Publisher | : |
| Total Pages | : 320 |
| Release | : 1992 |
| Genre | : Art |
| ISBN | : |
A benchmark in African American art history, originally published in 1943, later reissued in 1969. The present edition adds a new introduction by David C. Driskell that places the book and Porter's work in context. With four color and 79 bandw illustrations on glossy stock. Annotation copyright by Book News, Inc., Portland, OR
| Author | : Henry Louis Gates Jr. |
| Publisher | : Princeton University Press |
| Total Pages | : 614 |
| Release | : 2007-10-28 |
| Genre | : History |
| ISBN | : 9780691126524 |
When African American intellectuals announced the birth of the "New Negro" around the turn of the twentieth century, they were attempting through a bold act of renaming to change the way blacks were depicted and perceived in America. By challenging stereotypes of the Old Negro, and declaring that the New Negro was capable of high achievement, black writers tried to revolutionize how whites viewed blacks--and how blacks viewed themselves. Nothing less than a strategy to re-create the public face of "the race," the New Negro became a dominant figure of racial uplift between Reconstruction and World War II, as well as a central idea of the Harlem, or New Negro, Renaissance. Edited by Henry Louis Gates, Jr., and Gene Andrew Jarrett, The New Negro collects more than one hundred canonical and lesser-known essays published between 1892 and 1938 that examine the issues of race and representation in African American culture. These readings--by writers including W.E.B. Du Bois, Paul Laurence Dunbar, Alain Locke, Carl Van Vechten, Zora Neale Hurston, and Richard Wright--discuss the trope of the New Negro, and the milieu in which this figure existed, from almost every conceivable angle. Political essays are joined by essays on African American fiction, poetry, drama, music, painting, and sculpture. More than fascinating historical documents, these essays remain essential to the way African American identity and history are still understood today.
| Author | : Angelyn Mitchell |
| Publisher | : Duke University Press |
| Total Pages | : 548 |
| Release | : 1994 |
| Genre | : Literary Criticism |
| ISBN | : 9780822315445 |
Within the Circle is the first anthology to present the entire spectrum of twentieth-century African American literary and cultural criticism. It begins with the Harlem Renaissance, continues through civil rights, the Black Arts Movement, and on into contemporary debates of poststructuralist and black feminist theory. Drawing on a quote from Frederick Douglass for the title of this book, Angelyn Mitchell explains in her introduction the importance for those "within the circle" of African American literature to examine their own works and to engage this critical canon. The essays in this collection--many of which are not widely available today--either initiated or gave critical definition to specific periods or movements of African American literature. They address issues such as integration, separatism, political action, black nationalism, Afrocentricity, black feminism, as well as the role of art, the artist, the critic, and the audience. With selections from Langston Hughes, Sterling Brown, W. E. B. DuBois, Zora Neale Hurston, Richard Wright, James Baldwin, Toni Morrison, Barbara Smith, Alice Walker, Henry Louis Gates, Jr., and many others, this definitive collection provides a dynamic model of the cultural, ideological, historical, and aesthetic considerations in African American literature and literary criticism. A major contribution to the study of African American literature, this volume will serve as a foundation for future work by students and scholars. Its importance will be recognized by all those interested in modern literary theory as well as general readers concerned with the African American experience. Selections by (partial list): Houston A. Baker, Jr., James Baldwin, Sterling Brown, Barbara Christian, W. E. B. DuBois, Ralph Ellison, LeRoi Jones, Sarah Webster Fabio, Henry Louis Gates, Jr., W. Lawrence Hogue, Langston Hughes, Zora Neale Hurston, Alain Locke, Deborah E. McDowell, Toni Morrison, J. Saunders Redding, George Schuyler, Barbara Smith, Valerie Smith, Hortense J. Spillers, Robert B. Stepto, Alice Walker, Margaret Walker, Mary Helen Washington, Richard Wright
| Author | : Alain Locke |
| Publisher | : |
| Total Pages | : 508 |
| Release | : 1925 |
| Genre | : Literary Collections |
| ISBN | : |
| Author | : James Smethurst |
| Publisher | : Univ of North Carolina Press |
| Total Pages | : 488 |
| Release | : 2006-03-13 |
| Genre | : Social Science |
| ISBN | : 080787650X |
Emerging from a matrix of Old Left, black nationalist, and bohemian ideologies and institutions, African American artists and intellectuals in the 1960s coalesced to form the Black Arts Movement, the cultural wing of the Black Power Movement. In this comprehensive analysis, James Smethurst examines the formation of the Black Arts Movement and demonstrates how it deeply influenced the production and reception of literature and art in the United States through its negotiations of the ideological climate of the Cold War, decolonization, and the civil rights movement. Taking a regional approach, Smethurst examines local expressions of the nascent Black Arts Movement, a movement distinctive in its geographical reach and diversity, while always keeping the frame of the larger movement in view. The Black Arts Movement, he argues, fundamentally changed American attitudes about the relationship between popular culture and "high" art and dramatically transformed the landscape of public funding for the arts.
| Author | : Caleb Rainey |
| Publisher | : |
| Total Pages | : 47 |
| Release | : 2019-05-21 |
| Genre | : |
| ISBN | : 9781097378401 |
In his debut poem collection Caleb "The Negro Artist" Rainey explores racial tensions in America from the perspective of a young Black male.
| Author | : Richard J. Powell |
| Publisher | : Univ of California Press |
| Total Pages | : 212 |
| Release | : 1997 |
| Genre | : Art |
| ISBN | : 9780520212633 |
Published to accompany exhibition held at the Hayward Gallery, London, 19/6 - 17/8 1997.
| Author | : Victor H. Green |
| Publisher | : Colchis Books |
| Total Pages | : 222 |
| Release | : |
| Genre | : History |
| ISBN | : |
The Negro Motorist Green Book was a groundbreaking guide that provided African American travelers with crucial information on safe places to stay, eat, and visit during the era of segregation in the United States. This essential resource, originally published from 1936 to 1966, offered a lifeline to black motorists navigating a deeply divided nation, helping them avoid the dangers and indignities of racism on the road. More than just a travel guide, The Negro Motorist Green Book stands as a powerful symbol of resilience and resistance in the face of oppression, offering a poignant glimpse into the challenges and triumphs of the African American experience in the 20th century.
| Author | : Joshua I. Cohen |
| Publisher | : University of California Press |
| Total Pages | : 301 |
| Release | : 2020-07-21 |
| Genre | : Art |
| ISBN | : 0520309685 |
Reading African art’s impact on modernism as an international phenomenon, The “Black Art” Renaissance tracks a series of twentieth-century engagements with canonical African sculpture by European, African American, and sub-Saharan African artists and theorists. Notwithstanding its occurrence during the benighted colonial period, the Paris avant-garde “discovery” of African sculpture—known then as art nègre, or “black art”—eventually came to affect nascent Afro-modernisms, whose artists and critics commandeered visual and rhetorical uses of the same sculptural canon and the same term. Within this trajectory, “black art” evolved as a framework for asserting control over appropriative practices introduced by Europeans, and it helped forge alliances by redefining concepts of humanism, race, and civilization. From the Fauves and Picasso to the Harlem Renaissance, and from the work of South African artist Ernest Mancoba to the imagery of Negritude and the École de Dakar, African sculpture’s influence proved transcontinental in scope and significance. Through this extensively researched study, Joshua I. Cohen argues that art history’s alleged centers and margins must be conceived as interconnected and mutually informing. The “Black Art” Renaissance reveals just how much modern art has owed to African art on a global scale.
