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Journal articles on the topic 'African American entertainers in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

KAYE, ANDREW M. "Colonel Roscoe Conkling Simmons and the Mechanics of Black Leadership." Journal of American Studies 37, no. 1 (2003): 79–98. http://dx.doi.org/10.1017/s0021875803007011.

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I want you to have power because I will have power.Roscoe Conkling Simmons (1881–1951) was an African American journalist and lifelong Republican, frequently acclaimed as the greatest orator of his day. He wrote for the Chicago Defender, the nation's largest black paper, and was later a columnist for the Chicago Tribune. A sometime advisor on black affairs to Republican administrations during the 1920s, Simmons seconded the re-nomination of Herbert Hoover for president in 1932, where “His exit from the platform was blocked by senators, committeemen, governors and others high in the public life

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2

Robertson, Eric. "African Art and African-American Identity." African Arts 27, no. 2 (1994): 1. http://dx.doi.org/10.2307/3337085.

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3

Deaville, James. "African-American Entertainers in Jahrhundertwende: Vienna Austrian Identity, Viennese Modernism and Black Success." Nineteenth-Century Music Review 3, no. 1 (2006): 89–112. http://dx.doi.org/10.1017/s1479409800000367.

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According to jazz scholar Howard Rye, when considering public representations of African-American music and those who made it at the turn of the last century, ‘the average jazz aficionado, and not a few others, conjures up images of white folks in black face capering about’. We could extend this to include white minstrels singing so-called ‘coon songs’, which feature reprehensible racist lyrics set to syncopated rhythms. Traditional representations assign the blacks no role in the public performance of these scurrilous ‘identities’, which essentially banished them from the literature as partic

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4

Silverman, Raymond, Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections." African Studies Review 35, no. 1 (1992): 138. http://dx.doi.org/10.2307/524452.

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5

Tesfagiorgis, Freida High W., Robert V. Rozelle, Alvia J. Wardlaw, and Maureen A. McKenna. "Black Art: Ancestral Legacy: The African Impulse in African-American Art." African Arts 25, no. 2 (1992): 28. http://dx.doi.org/10.2307/3337057.

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6

Robinson, Jontyle Theresa. "Black Art: Ancestral Legacy: The African Impulse in African American Art." African Arts 24, no. 1 (1991): 78. http://dx.doi.org/10.2307/3336875.

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7

Cachia, Amanda, and Naima J. Keith. "Curating California: Expanding African American Art." Art Journal 76, no. 3-4 (2017): 80–85. http://dx.doi.org/10.1080/00043249.2017.1418491.

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8

Cutler, Jody B., Richard J. Powell, Jock Reynolds, Juanita M. Holland, and Adrienne L. Childs. "African Americans and American Art History." Art Journal 59, no. 1 (2000): 101. http://dx.doi.org/10.2307/778087.

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9

Mercer, Valerie J., Mora J. Beauchamp-Byrd, MaryAnn Wilkinson, Stephanie James, Nancy Sojka, and Courtney J. Martin. "Diversity of Contemporary African American Art." Bulletin of the Detroit Institute of Arts 86, no. 1-4 (2012): 88–123. http://dx.doi.org/10.1086/dia43492327.

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10

FRY, ANDY. "‘Du jazz hot à La Créole’: Josephine Baker sings Offenbach." Cambridge Opera Journal 16, no. 1 (2004): 43–75. http://dx.doi.org/10.1017/s095458670400179x.

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When African-American entertainer Josephine Baker first arrived in Paris in 1925, her dancing to the ‘jazz hot’ of La Revue nègre was, famously, perceived as ‘primitive’. But her 1934 performances in Offenbach’s La Créole completed the construction – and tested the limits – of a complex redefinition of Baker as French. Substantially revised, the operetta in effect staged her own assimilation, a new black character serving as a foil for the ‘creole’ Josephine and marking her as ‘in-between’. If most observers saw Baker’s transformation as an affirmation of France’s civilising mission, the few d

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11

Borgatti, Jean M., Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections: Survey 1989." International Journal of African Historical Studies 23, no. 4 (1990): 730. http://dx.doi.org/10.2307/219528.

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12

Abiodun, Rowland, Warren M. Robbins, and Nancy Ingram Nooter. "African Art in American Collections: Survey 1989." African Arts 24, no. 4 (1991): 28. http://dx.doi.org/10.2307/3337040.

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13

Hammons, D. "FORUM: AFRICAN AMERICAN ARTISTS ON ISSUES OF MUSEUMS AND REPRESENTATION OF AFRICAN AMERICAN ART." Nka Journal of Contemporary African Art 1995, no. 2 (1995): 34–41. http://dx.doi.org/10.1215/10757163-2-1-34.

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14

Banks, Patricia A. "Identity and the Consumption of African American Art in Art Education." Art Education 68, no. 6 (2015): 16–21. http://dx.doi.org/10.1080/00043125.2015.11519343.

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15

Bowersox, Jeff. "Seeing Black: Foote’s Afro-American Company and the Performance of Racial Uplift in Imperial Germany in 1891." German History 38, no. 3 (2020): 387–413. http://dx.doi.org/10.1093/gerhis/ghaa064.

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Abstract By 1914 African American entertainers had become a regular part of variety show programmes across the German lands, but despite their evident popularity, they have received little scholarly attention except as part of the pre-history of jazz. But even before 1914 African American performers took an active part in transatlantic conversations about the meanings of race, challenging racialized understandings of nation, culture and modernity. To illustrate the challenge presented by African American performance and the range of German responses, this article takes up a little-known case s

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16

Schur, Richard. "Post-Soul Aesthetics in Contemporary African American Art." African American Review 41, no. 4 (2007): 641. http://dx.doi.org/10.2307/25426982.

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17

Taylor, William Edward. "DUNGEONS AND DRAGONS IN AFRICAN AMERICAN ART RESEARCH." Art Documentation: Journal of the Art Libraries Society of North America 13, no. 1 (1994): 9–12. http://dx.doi.org/10.1086/adx.13.1.27948607.

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18

McCarthy, John P. "The art and soul of African American interpretation." Journal of Community Archaeology & Heritage 4, no. 2 (2017): 138–39. http://dx.doi.org/10.1080/20518196.2017.1292993.

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19

Anderson, E. N. "Grass Roots: African Origins of an American Art." Ethnobiology Letters 1 (August 3, 2010): 7–8. http://dx.doi.org/10.14237/ebl.1.2010.78.

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Review of Grass Roots: African Origins of an American Art. Dale Rosengarten, Theodore Rosengarten, and Enid Schildkrout, eds. 2008. Museum for African Art, New York. Distributed by University of Washington Press, Seattle. Pp. 269, copiously illustrated in black-and-white and color. ISBN (cloth) 978-0-945802-50-1, (paper) 978-0-945802-51-8.

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20

Powell, Richard J. "Linguists, Poets, and "Others" on African American Art." American Art 17, no. 1 (2003): 16–19. http://dx.doi.org/10.1086/444678.

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21

Sullivan, Emma. "Comic license in contemporary African American visual art." Comedy Studies 11, no. 2 (2020): 183–95. http://dx.doi.org/10.1080/2040610x.2020.1729487.

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22

Graveline, Laura. "Library Service to the African American Art Community." Art Documentation: Journal of the Art Libraries Society of North America 17, no. 2 (1998): 5–16. http://dx.doi.org/10.1086/adx.17.2.27948961.

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23

Byrd, Dana E. "Grass Roots: African Origins of an American Art." Journal of Modern Craft 4, no. 2 (2011): 207–11. http://dx.doi.org/10.2752/174967811x13050332209369.

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24

Schildkrout, Enid, Dale Rosengarten, and Theodore Rosengarten. "Grass Roots: African Origins of an American Art." African Arts 42, no. 2 (2009): 44–55. http://dx.doi.org/10.1162/afar.2009.42.2.44.

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25

Campbell, Mary Schmidt. "African American Art in a Post-Black Era." Women & Performance: a journal of feminist theory 17, no. 3 (2007): 317–30. http://dx.doi.org/10.1080/07407700701621541.

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26

Venet, Cheryl. "Welcoming African-American and Cambodian Art into the Classroom." Art Education 55, no. 2 (2002): 46. http://dx.doi.org/10.2307/3193990.

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27

Farrington, Lisa E. "CONCEPTUALISM, POLITICS, AND THE ART OF AFRICAN-AMERICAN WOMEN." Source: Notes in the History of Art 24, no. 4 (2005): 67–75. http://dx.doi.org/10.1086/sou.24.4.23207951.

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28

Coleman, Floyd. "African American Art Then and Now: Some Personal Reflections." American Art 17, no. 1 (2003): 23–25. http://dx.doi.org/10.1086/444680.

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29

Taylor, Darryl. "African American Art Song: An Opportunity for Better Understanding." International Journal of the Humanities: Annual Review 3, no. 7 (2006): 129–38. http://dx.doi.org/10.18848/1447-9508/cgp/v03i07/41752.

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30

Calo, Mary Ann. "African American Art and Critical Discourse Between World Wars." American Quarterly 51, no. 3 (1999): 580–621. http://dx.doi.org/10.1353/aq.1999.0037.

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31

Coker, Gylbert Garvin, and William Arnett. "Souls Grown Deep: African American Vernacular Art of the South." African American Review 35, no. 4 (2001): 660. http://dx.doi.org/10.2307/2903291.

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32

Laduke, Betty. "Lois Mailou Jones: The Grande Dame of African-American Art." Woman's Art Journal 8, no. 2 (1987): 28. http://dx.doi.org/10.2307/1358163.

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33

Rowell, Charles Henry. "Contemporary African American Art: The District of Columbia & Maryland." Callaloo 38, no. 4 (2015): 790–95. http://dx.doi.org/10.1353/cal.2015.0111.

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34

Mercer, Valerie J. "Collecting African American Art at the Detroit Institute of Arts." Bulletin of the Detroit Institute of Arts 86, no. 1-4 (2012): 4–6. http://dx.doi.org/10.1086/dia43492321.

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35

Mercer, Valerie J., and Kirsten Pai Buick. "African American Artists Gain Access to the Fine Art Professions." Bulletin of the Detroit Institute of Arts 86, no. 1-4 (2012): 8–17. http://dx.doi.org/10.1086/dia43492323.

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36

Teri Klassen. "Representations of African American Quiltmaking: From Omission to High Art." Journal of American Folklore 122, no. 485 (2009): 297–334. http://dx.doi.org/10.1353/jaf.0.0102.

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37

Sherman, S. W. "Crossing Borders through Folklore: African American Women's Fiction and Art." American Literature 72, no. 3 (2000): 655–56. http://dx.doi.org/10.1215/00029831-72-3-655.

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38

STRATTON, JON. "The Beastie Boys: Jews in whiteface." Popular Music 27, no. 3 (2008): 413–32. http://dx.doi.org/10.1017/s0261143008102203.

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AbstractThe Beastie Boys are usually described as the white hip hop group who helped break rap to a broad-based white audience. Rarely is it acknowledged that the Beasties all came from Jewish backgrounds. This article examines the implications of the Beastie Boys’ Jewishness. The Beasties can be placed in a long history of Jewish entertainers reworking black music for white American audiences. By the 1980s, Jews in the United States had been assimilated into whiteness, yet it is clear that the memory of discrimination lived on. The members of the Beasties played with whiteness – performed in

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39

Hussein Ithawi, Hind Naji. "Violence/Accommodation Binary in Chesnutt’s The Marrow of Tradition." Arab World English Journal For Translation and Literary Studies 5, no. 2 (2021): 49–61. http://dx.doi.org/10.24093/awejtls/vol5no2.4.

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The present paper examines the divergent attitudes of black characters toward racism in Charles W. Chesnutt’s The Marrow of Traditions (1901). Chesnutt wrote his novel to reflect his opinions on how African Americans should act to improve their situation. To situate the study within the historical and cultural context of Marrow, Black intellectuals’ views, namely Washington and Du Bois, about the complicated problem of ‘color’ were explored. To analyze the contrasting views and actions of Chesnutt’s black characters, the paper uses the lens of postcolonial theory. Although Marrow is not set wi

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40

Kamen, Diane L., Mia Barron, Tia M. Parker, et al. "Autoantibody prevalence and lupus characteristics in a unique African American population." Arthritis & Rheumatism 58, no. 5 (2008): 1237–47. http://dx.doi.org/10.1002/art.23416.

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41

Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.

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   A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a

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42

Dixon-Stowell, Brenda, and Robert Farris Thompson. "Flash of the Spirit: African and Afro-American Art and Philosophy." Dance Research Journal 17, no. 1 (1985): 53. http://dx.doi.org/10.2307/1478222.

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43

Tucker, Bruce. "Integrative Studies and the Speaking Subject in Some African-American Art." Lenox Avenue: A Journal of Interarts Inquiry 4 (1998): 19. http://dx.doi.org/10.2307/4177067.

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44

Shuffelton, Frank. "Circumstantial Accounts, Dangerous Art: Recognizing African-American Culture in Travelers' Narratives." Eighteenth-Century Studies 27, no. 4 (1994): 589. http://dx.doi.org/10.2307/2739441.

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45

Farrington, Lisa E. "BLACK OR WHITE?: RACIAL IDENTITY IN NINETEENTH-CENTURY AFRICAN-AMERICAN ART." Source: Notes in the History of Art 31, no. 3 (2012): 5–12. http://dx.doi.org/10.1086/sou.31.3.23208589.

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46

Bey, Sharif. "Augusta Savage: Sacrifice, Social Responsibility, and Early African American Art Education." Studies in Art Education 58, no. 2 (2017): 125–40. http://dx.doi.org/10.1080/00393541.2017.1292383.

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47

Von Blum, P. "A Visual Critique of Racism: African American Art from Southern California." Tikkun 28, no. 2 (2013): 41–48. http://dx.doi.org/10.1215/088799822081617.

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48

Tribe, Tania Costa. "Slavery to Hiroshima and beyond: African-American art and the apocalypse." Word & Image 29, no. 3 (2013): 354–84. http://dx.doi.org/10.1080/02666286.2013.822146.

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49

Smethurst, James Edward. "Rethinking Social Realism: African American Art and Literature, 1930-1953 (review)." MFS Modern Fiction Studies 52, no. 3 (2006): 725–27. http://dx.doi.org/10.1353/mfs.2006.0075.

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50

Walker, Harriet. "A Feminist Study of African American Art in New Orleans: Considerations of Aesthetics, Art History and Art Criticism." Marilyn Zurmuehlen Working Papers in Art Education 14, no. 1 (1997): 30–35. http://dx.doi.org/10.17077/2326-7070.1305.

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