Darby English
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780226131054
- eISBN:
- 9780226274737
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226274737.003.0001
- Subject:
- Art, Art History
This introductory chapter provides an overview of the book's main themes. This book focuses two exhibitions that brought modernist painting and sculpture into the heart of United States cultural ...
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This introductory chapter provides an overview of the book's main themes. This book focuses two exhibitions that brought modernist painting and sculpture into the heart of United States cultural politics: Contemporary Black Artists in America and The DeLuxe Show. Of the book's questions, the largest are simply, what did these exhibitions do to color, actually and conceptually? And how did this doing both reflect and affect the ways the larger culture was metabolizing color? The activities studied occurred at the fringes of modernist culture, in the late 1960s and early 1970s, and revived a social dimension from which modernism had been almost fully decoupled. As a result they mattered in ways that will have to be reconstructed.Less
This introductory chapter provides an overview of the book's main themes. This book focuses two exhibitions that brought modernist painting and sculpture into the heart of United States cultural politics: Contemporary Black Artists in America and The DeLuxe Show. Of the book's questions, the largest are simply, what did these exhibitions do to color, actually and conceptually? And how did this doing both reflect and affect the ways the larger culture was metabolizing color? The activities studied occurred at the fringes of modernist culture, in the late 1960s and early 1970s, and revived a social dimension from which modernism had been almost fully decoupled. As a result they mattered in ways that will have to be reconstructed.
Darby English
- Published in print:
- 2016
- Published Online:
- September 2017
- ISBN:
- 9780226131054
- eISBN:
- 9780226274737
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226274737.001.0001
- Subject:
- Art, Art History
This book explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in ...
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This book explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. The book looks at many black artists' desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, the book argues, came partly from color's special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture's preoccupation with color.Less
This book explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. The book looks at many black artists' desire to gain freedom from overt racial representation, as well as their efforts—and those of their advocates—to further that aim through public exhibition. Amid calls to define a “black aesthetic,” these experiments with modernist art prioritized cultural interaction and instability. Contemporary Black Artists in America highlighted abstraction as a stance against normative approaches, while The DeLuxe Show positioned abstraction in a center of urban blight. The importance of these experiments, the book argues, came partly from color's special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists—among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas—rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture's preoccupation with color.
Christopher Dunn
- Published in print:
- 2001
- Published Online:
- July 2014
- ISBN:
- 9780807826515
- eISBN:
- 9781469615714
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9780807826515.003.0007
- Subject:
- History, Latin American History
This chapter explores the various traces of tropicalist experience since the restoration of civilian rule in the mid-1980s. It first discusses the major contributions of the movement, which include ...
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This chapter explores the various traces of tropicalist experience since the restoration of civilian rule in the mid-1980s. It first discusses the major contributions of the movement, which include the following: the emergence of Brazilian rock and Afro-Bahian forms of music; the dissolution of cultural hierarchies by producing music for mass consumption; and the influence of Gil and Veloso on Brazilian popular music. The chapter highlights the work of Tom Zé, the most radical innovator of the tropicalist movement. It also discusses the influence of the tropicalist movement on the production of popular music in Brazil and the impact of this legacy on some contemporary artists who have claimed affinities with the tropicalist project.Less
This chapter explores the various traces of tropicalist experience since the restoration of civilian rule in the mid-1980s. It first discusses the major contributions of the movement, which include the following: the emergence of Brazilian rock and Afro-Bahian forms of music; the dissolution of cultural hierarchies by producing music for mass consumption; and the influence of Gil and Veloso on Brazilian popular music. The chapter highlights the work of Tom Zé, the most radical innovator of the tropicalist movement. It also discusses the influence of the tropicalist movement on the production of popular music in Brazil and the impact of this legacy on some contemporary artists who have claimed affinities with the tropicalist project.
Salwa Mikdadi
- Published in print:
- 2020
- Published Online:
- February 2020
- ISBN:
- 9780190673161
- eISBN:
- 9780190673192
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190673161.003.0022
- Subject:
- Classical Studies, History of Art: pre-history, BCE to 500CE, ancient and classical, Byzantine
Contemporary Arab artists are increasingly engaging with the past to make sense of present-day issues. Mining historical regional archives for inspiration, they are placing ancient art and ...
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Contemporary Arab artists are increasingly engaging with the past to make sense of present-day issues. Mining historical regional archives for inspiration, they are placing ancient art and archaeology at the center of their research for art projects and exhibitions. This engagement continues a trend that started in the early decades of the twentieth century, when Egyptian and Iraqi artists employed archaeology in the construction of national narratives, re-appropriating ancient art from its colonial construct—its iconic images of the exotic Orient—to serve the emerging nation states. Twenty-first-century artists are now reflecting upon the discipline of Archaeology and examining the politics of excavations and the display and interpretation of historical artifacts. This chapter presents examples of diverse approaches and techniques in contemporary art that explore archaeological and museological practices in the context of current sociopolitical and economic concerns.Less
Contemporary Arab artists are increasingly engaging with the past to make sense of present-day issues. Mining historical regional archives for inspiration, they are placing ancient art and archaeology at the center of their research for art projects and exhibitions. This engagement continues a trend that started in the early decades of the twentieth century, when Egyptian and Iraqi artists employed archaeology in the construction of national narratives, re-appropriating ancient art from its colonial construct—its iconic images of the exotic Orient—to serve the emerging nation states. Twenty-first-century artists are now reflecting upon the discipline of Archaeology and examining the politics of excavations and the display and interpretation of historical artifacts. This chapter presents examples of diverse approaches and techniques in contemporary art that explore archaeological and museological practices in the context of current sociopolitical and economic concerns.
Carolyn Mazloomi, Nailah Randall Bellinger, Olivia Cousins, S. Pearl Sharp, and Catherine Roma
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037900
- eISBN:
- 9780252095160
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037900.003.0011
- Subject:
- Society and Culture, Gender Studies
This chapter focuses on contemporary women artists whose artworks were featured in the Gendered Resistance Symposium, sponsored by Miami University and the National Underground Railroad Freedom ...
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This chapter focuses on contemporary women artists whose artworks were featured in the Gendered Resistance Symposium, sponsored by Miami University and the National Underground Railroad Freedom Center. These artists include fabric artist Carolyn Mazloomi, choreographer Nailah Randall Bellinger, spiritualist and medical sociologist Olivia Cousins, filmmaker S. Pearl Sharp, and Catherine Roma. Each of these artists shares her vision of the arts as part of a transformative educational platform and speaks about the role of the artist in conveying stories of gendered resistance. Indeed, several of the artists who participated in the symposium reflect on artistic expression and the process of memory, healing, and transformation, discussing the role of art, dance, poetry, performance, and music as bridges between the past and present.Less
This chapter focuses on contemporary women artists whose artworks were featured in the Gendered Resistance Symposium, sponsored by Miami University and the National Underground Railroad Freedom Center. These artists include fabric artist Carolyn Mazloomi, choreographer Nailah Randall Bellinger, spiritualist and medical sociologist Olivia Cousins, filmmaker S. Pearl Sharp, and Catherine Roma. Each of these artists shares her vision of the arts as part of a transformative educational platform and speaks about the role of the artist in conveying stories of gendered resistance. Indeed, several of the artists who participated in the symposium reflect on artistic expression and the process of memory, healing, and transformation, discussing the role of art, dance, poetry, performance, and music as bridges between the past and present.
Thierry Bardini
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816667505
- eISBN:
- 9781452946580
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816667505.003.0002
- Subject:
- Philosophy, General
This introductory chapter provides a background to the connection between junk and late-modern humans. It talks about the contemporary art of Vik Muniz, who plays the history of art and re-creates ...
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This introductory chapter provides a background to the connection between junk and late-modern humans. It talks about the contemporary art of Vik Muniz, who plays the history of art and re-creates past masterpieces in heteroclite media. Photographs of Mona Lisa in peanut butter or Sisyphus in junk established Muniz as a leading contemporary artist and as a maker of “the worst possible illusion.” This chapter also analyzes junk DNA or the noncoding DNA found in the human genome, and relates junk DNA to Samuel Butler’s analogy of the inversion between chicken and egg, which implies that “a hen is only an egg’s way of making another egg.”Less
This introductory chapter provides a background to the connection between junk and late-modern humans. It talks about the contemporary art of Vik Muniz, who plays the history of art and re-creates past masterpieces in heteroclite media. Photographs of Mona Lisa in peanut butter or Sisyphus in junk established Muniz as a leading contemporary artist and as a maker of “the worst possible illusion.” This chapter also analyzes junk DNA or the noncoding DNA found in the human genome, and relates junk DNA to Samuel Butler’s analogy of the inversion between chicken and egg, which implies that “a hen is only an egg’s way of making another egg.”
Rob Florence
- Published in print:
- 2018
- Published Online:
- September 2019
- ISBN:
- 9781496817396
- eISBN:
- 9781496817440
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496817396.003.0015
- Subject:
- Sociology, Race and Ethnicity
This chapter consists ofRob Florence’s personal impressions and experiences on his life as a member of K-Doe’s circle and many of these involve the people who masked as Baby Dolls.
This chapter consists ofRob Florence’s personal impressions and experiences on his life as a member of K-Doe’s circle and many of these involve the people who masked as Baby Dolls.
