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Author : Museum of Modern Art (New York, N.Y.)
Publisher : Unknown
Page : 81 pages
File Size : 54,5 Mb
Release : 1969
Category : Art, African
ISBN : OCLC:10639258
Author : James Johnson Sweeney
Publisher : Unknown
Page : 81 pages
File Size : 49,7 Mb
Release : 1966
Category : Electronic
ISBN : OCLC:1053627362
Author : j. j. m Sweeney
Publisher : Unknown
Page : 128 pages
File Size : 54,6 Mb
Release : 1969
Category : Electronic
ISBN : OCLC:1002580798
Author : Léon Kochnitzky
Publisher : Unknown
Page : 96 pages
File Size : 55,6 Mb
Release : 1948
Category : African American art
ISBN : UOM:39015015262424
Author : Philip John Crosskey Dark
Publisher : Unknown
Page : 120 pages
File Size : 40,8 Mb
Release : 1970
Category : Art
ISBN : UCSD:31822011788502
Author : James Amos Porter
Publisher : Unknown
Page : 320 pages
File Size : 54,5 Mb
Release : 1992
Category : Art
ISBN : UOM:39015026883432
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 : Virginia-Lee Webb,Walker Evans,Metropolitan Museum of Art (New York, N.Y.)
Publisher : Metropolitan Museum of Art
Page : 116 pages
File Size : 46,7 Mb
Release : 2000
Category : Photography of sculpture
ISBN : 9780870999390
Author : Philip John Crosskey Dark
Publisher : Unknown
Page : 0 pages
File Size : 50,7 Mb
Release : 1970
Category : Electronic
ISBN : OCLC:880732363
Author : Henry Louis Gates Jr.,Gene Andrew Jarrett
Publisher : Princeton University Press
Page : 606 pages
File Size : 47,8 Mb
Release : 2021-06-08
Category : Literary Collections
ISBN : 9781400827879
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 : Charles C. Seifert
Publisher : Black Classic Press
Page : 40 pages
File Size : 42,6 Mb
Release : 1983
Category : Art
ISBN : 0933121113
Author : Leon Kochnitzky
Publisher : Unknown
Page : 96 pages
File Size : 42,6 Mb
Release : 2017-07-18
Category : Art
ISBN : 0282393862
Excerpt from Negro Art in Belgian CongoAn African work of art is almost isolated from its cultural background. It has to be considered and studied without the help of little-known African history. The social, economic and religious evolution of the Dark Continent throws little light on the real meaning of such work. The only part of human knowledge to which the art historian can have recourse for information is ethnology. This is the chief reason why the study of African art has, for a whole century, been so strongly linked to this science.Ethnology and aesthetics do not make a happy marriage. The ethnologist is not concerned with the artistic significance of the objects. He examines. He cares nothing for the spirit that pervades the statue or the mask he handles; and he remains indifferent to the feeling that inspired the work. Even the technique and the style employed by the artist are of no interest to him, if they do not allow him to ascertain so'me purely material facts concerning the evolution of culture or the degree of civilization attained by the craftsman.And yet, during the whole period of discovery of Africa Tenebrosa, it was the ethnologist, and not the art scholar, who was the keeper and often the possessor of the treasures discovered by the explorer. Independent research was out of the question. The art scholar, unaware of the treasures that had perhaps been discarded, was forced to enter the museum of the ethnologist, to accept the latter's indoctrination, his classification in short, the learned man's opinion.Science is not to be blamed for this astounding state of affairs.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
Author : Chicago Public Library Omnibus Project
Publisher : Unknown
Page : 126 pages
File Size : 41,5 Mb
Release : 1941
Category : African American art
ISBN : UOM:39015034634348
Author : David Murphy
Publisher : Oxford University Press
Page : 246 pages
File Size : 54,7 Mb
Release : 2016
Category : Art
ISBN : 9781781383162
In April 1966, thousands of artists, musicians, performers and writers from across Africa and its diaspora gathered in the Senegalese capital, Dakar, to take part in the First World Festival of Negro Arts (Premier Festival Mondial des arts nègres). The international forum provided by the Dakar Festival showcased a wide array of arts and was attended by such celebrated luminaries as Duke Ellington, Josephine Baker, Aimé Césaire, André Malraux and Wole Soyinka. Described by Senegalese President Léopold Sédar Senghor, as 'the elaboration of a new humanism which this time will include all of humanity on the whole of our planet earth', the festival constituted a highly symbolic moment in the era of decolonization and the push for civil rights for black people in the United States. In essence, the festival sought to perform an emerging Pan-African culture, that is, to give concrete cultural expression to the ties that would bind the newly liberated African 'homeland' to black people in the diaspora. This volume is the first sustained attempt to provide not only an overview of the festival itself but also of its multiple legacies, which will help us better to understand the 'festivalization' of Africa that has occurred in recent decades with most African countries now hosting a number of festivals as part of a national tourism and cultural development strategy.
Author : Joshua I. Cohen
Publisher : University of California Press
Page : 301 pages
File Size : 46,5 Mb
Release : 2020-07-21
Category : Art
ISBN : 9780520309685
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.
Author : Leon Kochnitzky
Publisher : Lushena Books
Page : 0 pages
File Size : 45,7 Mb
Release : 2023-10-10
Category : Social Science
ISBN : 9798890965295
An African work of art is almost isolated from its cultural background. It has to be considered and studied without the help of little-known African history. The social, economic and religious evolution of the Dark Continent throws little light on the real meaning of such work. The only part of human knowledge to which the art historian can have recourse for information is ethnology. This is the chief reason why the study of African art has, for a whole century, been so strongly linked to this science. Ethnology and aesthetics do not make a happy marriage. The ethnologist is not concerned with the artistic significance of the objects. He examines. He cares nothing for the spirit that pervades the statue or the mask he handles; and he remains indifferent to the feeling that inspired the work. Even the technique and the style employed by the artist are of no interest to him, if they do not allow him to ascertain so'me purely material facts concerning the evolution of culture or the degree of civilization attained by the craftsman. And yet, during the whole period of discovery of Africa Tenebrosa, it was the ethnologist, and not the art scholar, who was the keeper and often the possessor of the treasures discovered by the explorer. Independent research was out of the question. The art scholar, unaware of the treasures that had perhaps been discarded, was forced to enter the museum of the ethnologist, to accept the latter's indoctrination, his classification in short, the learned man's opinion. Science is not to be blamed for this astounding state of affairs.