Gwendolyn DuBois Shaw explores African American art and representation from the height of the British colonial period to the present, seeking out the recovery of facts and narratives of African American creativity and self-representation that have been purposefully set aside, actively ignored, and disremembered.
Gwendolyn DuBois Shaw explores African American art and representation from the height of the British colonial period to the present, seeking out the recovery of facts and narratives of African American creativity and self-representation that have been purposefully set aside, actively ignored, and disremembered.
Gwendolyn DuBois Shaw is Class of 1940 Bicentennial Term Associate Professor of History of Art at the University of Pennsylvania, author of Seeing the Unspeakable: The Art of Kara Walker, also published by Duke University Press, and Portraits of a People: Picturing African Americans in the Nineteenth Century.
Inhaltsangabe
List of Illustrations ix Acknowledgments xiii Introduction 1 Part I. Past As Prelude 15 1. Facing Phillis Wheatley: Portraiture and Publishing in the Era of the American Revolution 19 2. Profiling Moses Williams: Silhouettes and Race in the Early Republic 42 3. The Freedom to Marry for All: Painting Interracial Families During the Era of the Civil War 62 4. Landscapes of Labor: Race, Religion, and Rhode Island in the Painting of Edward Mitchell Bannister 73 Part II. Modern Blackness 85 5. “This Gifted Sculptress of the Race”: The Intersectional Art of May Howard Jackson 91 6. Singing Saints: Sargent Johnson’s Modern Blackness 111 7. Norman Lewis’s Dan Mask: The Challenge of the African “Thing” in the 1930s 127 8. “Bolshevized by Conditions”: African American Artists and Mexican Muralism 135 9. Malcolm X Rising: Barbara Chase-Riboud’s Phenomenological Art 144 10. Richard Yarde’s Mojo Blues 161 Part III. Beginning Again 187 11. Remembering the Remnants: Contemporary Art and Hurricane Katrina 191 12. The Wandering Gaze of Carrie Mae Weems’s The Louisiana Project 203 13. Ten Years of 30 Americans 213 14. “No Man Is an Island”: The Diasporic Performances of Wanda Raimundi-Ortiz and Sheldon Scott 229 15. What Deana Lawson Wants 237 Notes 247 Bibliography 277 Index 289
List of Illustrations ix Acknowledgments xiii Introduction 1 Part I. Past As Prelude 15 1. Facing Phillis Wheatley: Portraiture and Publishing in the Era of the American Revolution 19 2. Profiling Moses Williams: Silhouettes and Race in the Early Republic 42 3. The Freedom to Marry for All: Painting Interracial Families During the Era of the Civil War 62 4. Landscapes of Labor: Race, Religion, and Rhode Island in the Painting of Edward Mitchell Bannister 73 Part II. Modern Blackness 85 5. “This Gifted Sculptress of the Race”: The Intersectional Art of May Howard Jackson 91 6. Singing Saints: Sargent Johnson’s Modern Blackness 111 7. Norman Lewis’s Dan Mask: The Challenge of the African “Thing” in the 1930s 127 8. “Bolshevized by Conditions”: African American Artists and Mexican Muralism 135 9. Malcolm X Rising: Barbara Chase-Riboud’s Phenomenological Art 144 10. Richard Yarde’s Mojo Blues 161 Part III. Beginning Again 187 11. Remembering the Remnants: Contemporary Art and Hurricane Katrina 191 12. The Wandering Gaze of Carrie Mae Weems’s The Louisiana Project 203 13. Ten Years of 30 Americans 213 14. “No Man Is an Island”: The Diasporic Performances of Wanda Raimundi-Ortiz and Sheldon Scott 229 15. What Deana Lawson Wants 237 Notes 247 Bibliography 277 Index 289
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