The Image Of The Black In Latin American And Caribbean Art Book 2
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David Bindman,Emeritus Professor of the History of Art David Bindman,Alejandro de la Fuente,Robert Woods Bliss Professor of Latin American History and Economics Professor of African and African American Studies and of History Alejandro de la Fuente,Alphonse Fletcher University Professor and the Director of the W E B Du Bois Institute for African and African American Research Henry Louis Gates,Henry Louis Gates, Jr.,Sheldon Cheek
Author : David Bindman,Emeritus Professor of the History of Art David Bindman,Alejandro de la Fuente,Robert Woods Bliss Professor of Latin American History and Economics Professor of African and African American Studies and of History Alejandro de la Fuente,Alphonse Fletcher University Professor and the Director of the W E B Du Bois Institute for African and African American Research Henry Louis Gates,Henry Louis Gates, Jr.,Sheldon Cheek Publisher : Hutchins Center for African and African American Research Page : 0 pages File Size : 44,9 Mb Release : 2023-10-24 Category : Electronic ISBN : 0674248872
The Image of the Black in Latin American and Caribbean Art, Book 2 by David Bindman,Emeritus Professor of the History of Art David Bindman,Alejandro de la Fuente,Robert Woods Bliss Professor of Latin American History and Economics Professor of African and African American Studies and of History Alejandro de la Fuente,Alphonse Fletcher University Professor and the Director of the W E B Du Bois Institute for African and African American Research Henry Louis Gates,Henry Louis Gates, Jr.,Sheldon Cheek Pdf
The Image of the Black in Latin American and Caribbean Art is the first comprehensive survey of the visual representation of people of African descent in the region. This second volume explores the period from the final abolition of slavery in Brazil and Cuba through the independence of the Caribbean islands to the present day.
Black in Latin America by Henry Louis Gates (Jr.) Pdf
12.5 million Africans were shipped to the New World during the Middle Passage. While just over 11.0 million survived the arduous journey, only about 450,000 of them arrived in the United States. The restOCoover ten and a half millionOCowere taken to the Caribbean and Latin America. This astonishing fact changes our entire picture of the history of slavery in the Western hemisphere, and of its lasting cultural impact. These millions of Africans created new and vibrant cultures, magnificently compelling syntheses of various African, English, French, Portuguese, and Spanish influences. Despite their great numbers, the cultural and social worlds that they created remain largely unknown to most Americans, except for certain popular, cross-over musical forms. So Henry Louis Gates, Jr. set out on a quest to discover how Latin Americans of African descent live now, and how the countries of their acknowledgeOCoor denyOCotheir African past; how the fact of race and African ancestry play themselves out in the multicultural worlds of the Caribbean and Latin America. Starting with the slave experience and extending to the present, Gates unveils the history of the African presence in six Latin American countriesOCoBrazil, Cuba, the Dominican Republic, Haiti, Mexico, and PeruOCothrough art, music, cuisine, dance, politics, and religion, but also the very palpable presence of anti-black racism that has sometimes sought to keep the black cultural presence from view. In Brazil, he delves behind the fa ade of Carnaval to discover how this OCyrainbow nationOCO is waking up to its legacy as the worldOCOs largest slave economy. In Cuba, he finds out how the culture, religion, politics and music of this island is inextricably linked to the huge amount of slave labor imported to produce its enormously profitable 19th century sugar industry, and how race and racism have fared since Fidel CastroOCOs Communist revolution in 1959. In Haiti, he tells the story of the birth of the first-ever black republic, and finds out how the slavesOCOs hard fought liberation over Napoleon BonaparteOCOs French Empire became a double-edged sword. In Mexico and Peru, he explores the almost unknown history of the significant numbers of black peopleOCofar greater than the number brought to the United StatesOCobrought to these countries as early as the sixteenth and seventeenth centuries, and the worlds of culture that their descendants have created in Vera Cruz on the Gulf of Mexico, the Costa Chica region on the Pacific, and in and around Lima, Peru. Professor GatesOCO journey becomes ours as we are introduced to the faces and voices of the descendants of the Africans who created these worlds. He shows both the similarities and distinctions between these cultures, and how the New World manifestations are rooted in, but distinct from, their African antecedents. OC Black in Latin AmericaOCO is the third instalment of GatesOCOs documentary trilogy on the Black Experience in Africa, the United States, and in Latin America. In America Behind the Color Line, Professor Gates examined the fortunes of the black population of modern-day America. In Wonders of the African World, he embarked upon a series of journeys to reveal the history of African culture. Now, he brings that quest full-circle in an effort to discover how Africa and Europe combined to create the vibrant cultures of Latin America, with a rich legacy of thoughtful, articulate subjects whose stories are astonishingly moving and irresistibly compelling.
David Bindman,Henry Louis Gates,Karen C. C. Dalton
Author : David Bindman,Henry Louis Gates,Karen C. C. Dalton Publisher : Unknown Page : 0 pages File Size : 54,8 Mb Release : 2010 Category : Black people in art ISBN : 0674052595
The Image of the Black in Western Art: pt. 1. From the American Revolution to World War 1: slaves and liberator by David Bindman,Henry Louis Gates,Karen C. C. Dalton Pdf
David Bindman,Henry Louis Gates (Jr.),Karen C. C. Dalton
Author : David Bindman,Henry Louis Gates (Jr.),Karen C. C. Dalton Publisher : Harvard University Press Page : 344 pages File Size : 44,7 Mb Release : 2010 Category : Art and race ISBN : 0674052560
The Image of the Black in Western Art by David Bindman,Henry Louis Gates (Jr.),Karen C. C. Dalton Pdf
A history of the representation of African people & people of African descent in Classical & Western art, these new editions update the magisterial project begun by Dominique de Menil.
The Image of the Black in Western Art: From the "Age of Discovery" to the Age of Abolition : artists of the Renaissance and Baroque by David Bindman,Henry Louis Gates (Jr.),Paul H. D. Kaplan Pdf
Presents a collection of art that showcases visual tropes of masters with their adoring slaves and Africans as victims and individuals.
Museum of Modern Art (New York, N.Y.),Museo del Barrio (New York, N.Y.)
Author : Museum of Modern Art (New York, N.Y.),Museo del Barrio (New York, N.Y.) Publisher : Unknown Page : 188 pages File Size : 54,7 Mb Release : 2004 Category : Art ISBN : UOM:39015060132787
The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier’s remarkable text forcibly asserts the originality and importance of Black artists’ work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies. Among the artists included are Benny Andrews, Bessie Harvey, Lubaina Himid, Claudette Johnson, Noah Purifoy, Faith Ringgold, Betye Saar, Joyce J. Scott, Maud Sulter, and Barbara Walker.
A timely and revealing look at the intertwined histories of science, art, and racism. ‘Race Is Everything’ explores the spurious but influential ideas of so-called racial science in the nineteenth and the first half of the twentieth centuries, and how art was affected by it. David Bindman looks at race in general, but with particular concentration on attitudes toward and representations of people of African and Jewish descent. He argues that behind all racial ideas of the period lies the belief that outward appearance—and especially skull shape, as studied in the pseudoscience of phrenology—can be correlated with inner character and intelligence, and that these could be used to create a seemingly scientific hierarchy of races. The book considers many aspects of these beliefs, including the skull as a racial marker; ancient Egypt as a precedent for Southern slavery; Darwin, race, and aesthetics; the purported “Mediterranean race”; the visual aspects of eugenics; and the racial politics of Emil Nolde.
Latin Blackness in Parisian Visual Culture, 1852-1932 by Lyneise E. Williams Pdf
Latin Blackness in Parisian Visual Culture, 1852-1932 examines an understudied visual language used to portray Latin Americans in mid-19th to early 20th-century Parisian popular visual media. The term 'Latinize' is introduced to connect France's early 19th-century endeavors to create “Latin America,” an expansion of the French empire into the Latin-language based Spanish and Portuguese Americas, to its perception of this population. Latin-American elites traveler to Paris in the 1840s from their newly independent nations were denigrated in representations rather than depicted as equals in a developing global economy. Darkened skin, etched onto images of Latin Americans of European descent mitigated their ability to claim the privileges of their ancestral heritage. Whitened skin, among other codes, imposed on turn-of-the-20th-century Black Latin Americans in Paris tempered their Blackness and rendered them relatively assimilatable compared to colonial Africans, Blacks from the Caribbean, and African Americans. After identifying mid-to-late 19th-century Latinizing codes, the study focuses on shifts in latinizing visuality between 1890-1933 in three case studies: the depictions of popular Cuban circus entertainer Chocolat; representations of Panamanian World Bantamweight Champion boxer Alfonso Teofilo Brown; and paintings of Black Uruguayans executed by Pedro Figari, a Uruguayan artist, during his residence in Paris between 1925-1933.
Images of Power by Jens Andermann,William Rowe Pdf
In Latin America, where even today writing has remained a restricted form of expression, the task of generating consent and imposing the emergent nation-state as the exclusive form of the political, was largely conferred to the image. Furthermore, at the moment of its historical demise, the new, 'postmodern' forms of sovereignty appear to rely even more heavily on visual discourses of power. However, a critique of the iconography of the modern state-form has been missing. This volume is the first concerted attempt by cultural, historical and visual scholars to address the political dimension of visual culture in Latin America, in a comparative perspective spanning various regions and historical stages. The case studies are divided into four sections, analysing the formation of a public sphere, the visual politics of avant-garde art, the impact of mass society on political iconography, and the consolidation and crisis of territory as a key icon of the state. Jens Andermann is a Lecturer in Latin American Studies at Birkbeck College, London, and co-editor of the Journal of Latin American Cultural Studies. Among his publications are Mapas de poder: una arqueología literaria del espacio argentino (Rosario, 2000) and articles for major journals in Argentina, Brazil, Europe and the US. William Rowe is Anniversary Professor of Poetics at Birkbeck College, London. His book Memory and Modernity: Popular Culture in Latin America (London, 1991) has been translated into several languages. His most recent works, apart from translations of a wide range of Latin American poetry, are Poets of Contemporary Latin America: History and the Inner Life (Oxford, 2000) and Ensayos vallejianos (Berkeley and Lima, 2006).
Black Writing, Culture, and the State in Latin America by Jerome C. Branche Pdf
Imagine the tension that existed between the emerging nations and governments throughout the Latin American world and the cultural life of former enslaved Africans and their descendants. A world of cultural production, in the form of literature, poetry, art, music, and eventually film, would often simultaneously contravene or cooperate with the newly established order of Latin American nations negotiating independence and a new political and cultural balance. In Black Writing, Culture, and the State in Latin America, Jerome Branche presents the reader with the complex landscape of art and literature among Afro-Hispanic and Latin artists. Branche and his contributors describe individuals such as Juan Francisco Manzano, who wrote an autobiography on the slave experience in Cuba during the nineteenth century. The reader finds a thriving Afro-Hispanic theatrical presence throughout Latin America and even across the Atlantic. The role of black women in poetry and literature comes to the forefront in the Caribbean, presenting a powerful reminder of the diversity that defines the region. All too often, the disciplines of film studies, literary criticism, and art history ignore the opportunity to collaborate in a dialogue. Branche and his contributors present a unified approach, however, suggesting that cultural production should not be viewed narrowly, especially when studying the achievements of the Afro-Latin world.
