Relevant bibliographies by topics / African American painting

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'African American painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "African American painting"

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Tassadduq, Sobia, Sadia Sulaiman, and S. Adnan A. Shah Bukhari. "Chronology of societal and Afro-American art evolution in pre (1619-1865) and post (1865-1965) civil war in the US." Liberal Arts and Social Sciences International Journal (LASSIJ) 6, no. 2 (2022): 1–31. http://dx.doi.org/10.47264/idea.lassij/6.2.1.

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This study explores the relationship between the societal integration of African Americans and its influences on the group's art of painting in the pre-and-post-Civil War periods, i.e., from 1619-1865 and 1865-1965, in the United States of America. It seeks to explore a relationship between greater social integration and influences on the artwork of African Americans over time - themes and elements of art, i.e., lines and colours. It draws upon John Dewey’s theory of art as experience and Erwin Panofsky's Thematic analysis (Iconography). The study findings suggest the oppression and exclusion of African Americans in general (in the pre-Civil War period) and its influences on the constrained creativity of the group’s artwork (of painting). However, on the contrary, the findings indicate greater experimentation, uniqueness, and depiction of African identity in post-Civil War period artwork of painting. This coincides with the gradual but ominous social acceptance, educational attainments, and economic success of Afro-Americans in American society during this period. The findings and analysis validate a relationship between the societal transformation of marginalized groups (from exclusion to integration) and influences on groups’ artistic expressions.
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Koshelev, Georgy, and Alexandra Spiridonova. "Alexander Melamid’s Portraiture of the 2010s." Scientific and analytical journal Burganov House. The space of culture 16, no. 2 (2020): 33–46. http://dx.doi.org/10.36340/2071-6818-2020-16-2-33-46.

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The article focuses on a comprehensive study of Alexander Melamid’s portraiture included in his first independent project after thirty years of collaborative creativity with Vitaly Komar. Throughout the entire thirty-year period of cooperation, the painters signed their works with the Komar and Melamid trademark making it difficult to determine the artists’ individual characters. A detailed analysis of the solo works of the 60-70s, before the beginning of collaborative creativity, is presented; it helps us to detect individual traits in the works of the duet and to better identify the artists’ personalities, to reconstruct the technical features of each artist’s painting style. In 2007, Alexander Melamid began creating a large-scale series of paintings which would become his new conceptual line of creative work; later, in 2009, the artist developed and supplemented the series with portraits of Italian clergy and Russian oligarchs. Characteristic features of the Holy Hip Hop! portrait series, exhibited at the Detroit Museum of Modern Art in 2008, are studied in the article. The artist paid special attention to the psychological characters of the portrayed, the entire series is painted in one color scheme, within one scale. The pictorial series is an integral conceptual statement. The purely plastic qualities of the paintings fade into the background. They are not so important for Alexander Melamid - he uses academic painting as a tool to convey more accurately the psychology of the portrayed whom he treats with ironic interest. It is important to note that Alexander Melamid erases the line between the classical and the marginal art, just as Francois Millet did in his time. The article succeeded in updating sociocultural issues with the help of contextual comparison with portraiture by Diego Velazquez and contemporary American artist Kehinde Wiley whose creative life has deeply integrated into the socio-political realities of the United States of the beginning of the 21st century and the African-American cultural tradition. Kehinde Wiley is known for his realistic large-scale portrayals of African-Americans in poses borrowed from works of classical European painting of the 17-19th centuries. The artist openly propagandizes, deliberately emphasizing the didactic function of his paintings. It is in the context of contemporaries’ works and the political situation in the USA of the 2000-2010s that Alexander Melamid’s work should be considered.
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Whiting, Cécile. "More Than Meets the Eye: Archibald Motley and Debates on Race in Art." Prospects 26 (October 2001): 449–76. http://dx.doi.org/10.1017/s0361233300001009.

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In 1933, Archibald J. Motley Jr., an African-American artist from Chicago who enjoyed a moderate level of national and international renown, issued his only formal public statement concerning the relationship he perceived between his art and race. His words, resonating with confidence, assert his conviction that painting could capture the truth of race through pigment. Reproduced opposite this declaration,Bluesof 1929 (Figure 1), which depicts well-coiffed men and women dancing in the Petite Cafe in Paris to tunes played by musicians seated in the foreground, would seem to reinforce Motley's point: paint transcribes the gradations of skin pigment incarnated by the various African, West Indian, and perhaps even African-American patrons of this nightspot. The color of skin, transmuted into the color of paint, identifies and catalogs race.
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Schriber, Abbe. "Mapping a New Humanism in the 1940s: Thelma Johnson Streat between Dance and Painting." Arts 9, no. 1 (2020): 7. http://dx.doi.org/10.3390/arts9010007.

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Thelma Johnson Streat is perhaps best known as the first African American woman to have work acquired by the Museum of Modern Art. However, in the 1940s–1950s she inhabited multiple coinciding roles: painter, performer, choreographer, cultural ethnographer, and folklore collector. As part of this expansive practice, her canvases display a peculiar movement and animacy while her dances transmit the restraint of the two-dimensional figure. Drawing from black feminist theoretical redefinitions of the human, this paper argues that Streat’s exploration of muralism, African American spirituals, Native Northwest Coast cultural production, and Yaqui Mexican-Indigenous folk music established a diasporic mapping forged through the coxtension of gesture and brushstroke. This transmedial work disorients colonial cartographies which were the products of displacement, conquest, and dispossession, aiding notions of a new humanism at mid-century.
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MORGAN, JO-ANN. "Thomas Satterwhite Noble's Mulattos: From Barefoot Madonna to Maggie the Ripper." Journal of American Studies 41, no. 1 (2007): 83–114. http://dx.doi.org/10.1017/s0021875806002763.

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With emancipation a fait accompli by 1865, one might ask why Kentucky-born Thomas Satterwhite Noble (1835–1907), former Confederate soldier, son of a border state slaveholder, began painting slaves then. Noble had known the “peculiar institution” at first hand, albeit from a privileged position within the master class. As a result, his choice to embark upon a career as a painter using historical incidents from slavery makes for an interesting study. Were the paintings a way of atoning for his Confederate culpability, a rebel pounding his sword into a paintbrush to appease the conquering North? Or was he capitalizing on his unique geographic perspective as a scion of slave-trafficking Frankfort, Kentucky, soon to head a prestigious art school in Cincinnati, the city where so many runaways first tasted freedom? Between 1865 and 1869 Noble exhibited in northern cities a total of eight paintings with African American subjects. Two of these, The Last Sale of Slaves in St. Louis (1865, repainted ca. 1870) and Margaret Garner (1867), featured mixed-race women, or mulattos, as they had come to be called. From a young female up for auction, to the famous fugitive Margaret Garner, his portrayals show a transformation taking place within perceptions of biracial women in post-emancipation America. Opinions about mulattos surfaced in a range of theoretical discussions, from the scientific to the political, as strategists North and South envisioned evolving social policy.
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CELINSKA, DOROTA. "Painting a portrayal of narrators with learning disabilities from two narrative perspectives." Applied Psycholinguistics 35, no. 4 (2012): 649–75. http://dx.doi.org/10.1017/s0142716412000537.

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ABSTRACTTwo narrative perspectives, high point analysis and episodic analysis, were used to compare the ability of narrators with and without learning disabilities to fulfill the referential and evaluative narrative functions. The participants were 82 students with learning disabilities and their typically achieving peers matched on age, grade, gender, and ethnicity. The participants (48 Caucasian, 34 African American) attended urban and suburban schools (Grades 4–7). Narratives were collected within the context of a naturalistic conversation. The findings across the two narrative perspectives showed areas of incongruence in specific narrative competencies. While these findings expand the portrayal of narrators with learning disabilities, they also imply the impact of using specific narrative analyses and genres for the narrative assessment and intervention outcomes.
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Lapin Dardashti, Abigail. "Abdias do Nascimento in New York." MODOS: Revista de História da Arte 6, no. 1 (2022): 471–93. http://dx.doi.org/10.20396/modos.v6i1.8666899.

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This essay examines the life and work of the Afro-Brazilian activist, politician, and artist Abdias do Nascimento in 1968–70, when he lived in New York City. I argue that, in this new space, Nascimento employed painting as both a vehicle to address his migratory experience and a tool to continue his anti-racism activism. Engaging with African American art both from the 1930s Harlem Renaissance and the 1960s Black Power movement, Nascimento produced images representing transnational Black solidarity within a cultural space that operated beyond national confines. Ultimately, Nascimento’s work unsettles dominant modes of Brazilian and US representation at the time, employing elements from pop art to interrogate the art world’s exclusion of the Black experience.
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Pinder, Kymberly N. ""Our Father, God; our Brother, Christ; or are We Bastard Kin?": Images of Christ in African American Painting." African American Review 31, no. 2 (1997): 223. http://dx.doi.org/10.2307/3042461.

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Hernández, Robb. "Pretty in pink: David Antonio Cruz’s portrait of the florida girls." Journal of Visual Culture 19, no. 2 (2020): 232–45. http://dx.doi.org/10.1177/1470412920941901.

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Roused by the deaths of five African American transgender women in Florida in 2018, artist David Antonio Cruz intervenes in inaccurate media reports about these murders. Painting portrait of the florida girls in 2019, his diptych of significant scale and palette, confronts this senseless violence and challenges sensationalized coverage. This article centralizes his work arguing for the ways in which Cruz innovates transgender of color visibility through a queer of color critiquing of the portrait form and concerted use of a ‘blacktino’ optic. Ruminating on the combined tragedies of gun violence at Pulse nightclub and serial murder of trans femmes, Cruz’s work interrogates the posthumous transgender image with a reversal of digital source material and bodily logics in pose and countenance. By turning to the transnational crossroads shaping these communities’ shared horrors, central Florida, Cruz activates his audience with a sense of urgency in the persuasive power of pink.
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Bernier, Celeste-Marie. "“The Slave Ship Imprint”: Representing the Body, Memory, and History in Contemporary African American and Black British Painting, Photography, and Installation Art." Callaloo 37, no. 4 (2014): 990–1022. http://dx.doi.org/10.1353/cal.2014.0181.

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Dissertations / Theses on the topic "African American painting"

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Brooks, Queen E. "The ties that bind : art of an African American artist." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433506.

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Sanders, Sophie. "SPIRITED PATTERN AND DECORATION IN CONTEMPORARY BLACK ATLANTIC ART." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/238756.

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Art History<br>Ph.D.<br>This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth's environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.<br>Temple University--Theses
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Schneider, Leann G. "Capturing Otherness on Canvas: 16th - 18th century European Representation of Amerindians and Africans." Kent State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=kent1437430892.

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Getty, Karen Berisford. "Searching for the Transatlantic Freedom: The Art of Valerie Maynard." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/847.

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This thesis focuses on an African-American female artist, Valerie Maynard, examining how she synthesizes African and American elements in her works. It provides detailed formal and iconographical analyses, revealing concealed meanings and paying special attention to those works with which the artist mirrors the Black experience in the United States and Africa on the other side of the Atlantic. In the process, the thesis sheds new light on the significance of Valerie Maynard's work and how she has used some of them to embody the Black quest for freedom and social justice during the Civil Rights struggle of the 1960s and 1970s and beyond.
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Joseph, Darel. "The Adversity Pop Culture Has Posed." ScholarWorks@UNO, 2014. http://scholarworks.uno.edu/td/1877.

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I am a collage artist working with multiple mediums such as paint, photography, video, audio, and performance. As a New Orleans’ native, I have a unique history that is unflattering, for my history echoes that of America’s historical misdeeds. I make sociopolitical art because I am of a historically oppressed people. I make art that celebrates my diverse culture that is a collage of Native American, African, and New Orleans’ French Creole.
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KLEOPFER, KIRSTIE L. "NORMAN ROCKWELL'S CIVIL RIGHTS PAINTINGS OF THE 1960s." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1179431918.

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Hughes, Steven E. "Painting heroes: Using illustration to improve the standing of baseball in the inner city." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1279586046.

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Farrington, Lisa E. "Faith Ringgold the early works and the evolution of the thangka paintings /." 1997. http://catalog.hathitrust.org/api/volumes/oclc/51006629.html.

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Blundell, Geoffrey. "The politics of public rock art: a comparative critique of rock art sites open to the public in South Africa and the United states of America." Thesis, 2016. http://hdl.handle.net/10539/20863.

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A dissertation submitted to the Faculty of Arts University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts. Johannesburg, 1996<br>South African and American public rock art sites are in a predicament. In both countries, there is a lack of an adequate, theoretically informed but practically implementable, conceptual approach to presenting these sites. This lack leads to the reproduction of stereotypes of rock art and the indigenous people who made it. This thesis suggests a way of rectifying the present situation. It is argued that any suggested reconstruction of public rock art sites must recognise that they are implicated in identity-formation. Following this premise, a strategy, entitled metaphoric pilgrimage, is suggested, developed and applied to four rock art sites - two in South Africa and two in America.
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Books on the topic "African American painting"

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Joe, Houston, Columbus Museum of Art, and Roberts & Tilton., eds. Kehinde Wiley: Columbus. Columbus Museum of Art, 2006.

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Golden, Thelma. Bob Thompson. Whitney Museum of American Art, 1998.

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Howard, Nancy Shroyer. Jacob Lawrence: American scenes, American struggles. Davis Publications, 1996.

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Everett, Gwen. Li'l sis and Uncle Willie: A story based on the life and paintings of William H. Johnson. Hyperion Paperbacks for Children, 1994.

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Everett, Gwen. Li'l sis and Uncle Willie: A story based on the life and paintings of William H. Johnson. Hyperion Paperbacks for Children, 1994.

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Association for the Preservation of Historic Natchitoches. Clementine Hunter: The African House murals. NSU Press Publications, Northwestern State University of Louisiana, 2005.

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Theisen, Ollie Jensen. The murals of John Thomas Biggers: American muralist, African American artist. Hampton University Museum, 1996.

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National Museum of American Art (U.S.), ed. Li'l Sis and Uncle Willie: A story based on the life and paintings of William H. Johnson. National Museum of American Art, Smithsonian Institution, 1991.

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Prigoff, James. Walls of heritage, walls of pride: African American murals. Pomegranate, 2000.

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1917-, Lawrence Jacob, Hills Patricia, and Seattle Art Museum, eds. Jacob Lawrence, American painter. University of Washington Press in association with the Seattle Art Museum, 1986.

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Book chapters on the topic "African American painting"

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Hampson, Jamie, and Sam Challis. "Cultures of Appropriation: Rock Art Ownership, Indigenous Intellectual Property, and Decolonisation." In Deep-Time Images in the Age of Globalization. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54638-9_19.

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AbstractBoth on and off the rocks, it is clear that many pictographs and petroglyphs are powerful cultural and social ‘tools’ as well as sacred beings. Indeed, in certain regions of many countries, cultural and socio-political identity is shaped, manipulated, and presented through rock paintings and engravings. In this chapter, we focus on re-contextualised and appropriated Indigenous heritage and rock art motifs, in commercial settings, in sports team mascots, and as integral components of political and national symbols—there are illuminating similarities (as well as differences) that span the globe. Case studies include instances where descendants of the original artists have re-imagined and adapted the meanings and uses of motifs, and also where non-Indigenous/non-descendant groups have appropriated rock art imagery—often without consultation with or permission from Traditional Owners and heritage managers. We offer results from fieldwork and study in North America, northern Australia, and southern Africa.
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Meyers, Mary Ann. "The Art in Painting." In Art, Education, & African-American Culture. Routledge, 2017. http://dx.doi.org/10.4324/9781351323246-6.

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"3 African American Storytelling: Toussaint L’Ouverture and Harriet Tubman." In Painting Harlem Modern. University of California Press, 2010. http://dx.doi.org/10.1525/9780520944626-005.

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"From Painting to Technology: Art before and into the New Millennium. 1990-2002." In African American Art and Artists. University of California Press, 2003. http://dx.doi.org/10.1525/9780520354876-011.

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Blum, Paul Von. "The Black Arts Movement." In With Fists Raised. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781800859777.003.0011.

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This chapter presents an extensive overview of the African American artists who played significant roles in the history of visual arts of the Black Arts movement. It focuses on those creative women and men who were the historical precursors to the Black Arts movement of the mid 1960s to the mid 1970s and those artists who were directly involved in that time period. The chapter addresses multiple artistic forms including murals, assemblage, photography, painting, and posters. The vast majority of these artworks reflected strong visual statements against racism and positive statements about African American life, history, and culture. The chapter includes three illustrations that are especially representative of the thematic focus of the Black Arts movement, including iconic works by Betye Saar and Black Panther Party artist Emory Douglas.
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Corthron, Kia. "Icarus Crashes and Rises from His Own Ashes." In The Essential Clarence Major. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469656007.003.0014.

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Part 3 includes 17 essays. Included in the section is the essay “Painting and Poetry,” in which Major merges the disciplines of visual art and writing, discussing letters written by Vincent van Gogh. “Thanks for the Lunch, Baby,’” imagines a posthumous Paris lunch with Major’s friend, James Baldwin, while “A Paris Fantasy Transformed” focuses on ex-pat Major’s observations of the complications in the European mecca-utopia. “Necessary Distance” can be seen more as a memoir; in it, Major recounts his captivation with painting, a scholarship he received as a teenager to attend sketch classes at Chicago’s Art Institute, his awareness of the absence of African American work from the walls of mainstream galleries, his fascination with form over content, and his frustration with critical pigeon-holing. The essays profiling renowned writers (James Baldwin, Ralph Ellison, and Richard Wright) are deliberately narrow, addressing aspects of the authors that have been rarely glimpsed. In “Don, Here Is my Peppermint Striped Shirt,” the reader is invited into a virtual 1970s Greenwich Village Moveable Feast: a Christmas party at which Major meets the subject of his essay. “Rhythm: A Hundred Years of African American Poetry” provides a detailed overview of a broad range of black poets, from slavery through the mid-1990s.
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Woods, Naurice Frank, and George Dimock. "Robert Seldon Duncanson (1821–1872)." In Race and Racism in Nineteenth-Century Art. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0002.

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Robert Seldon Duncanson was America’s first great painter of African descent. His accomplishments placed him in the first rank of nineteenth-century American landscape artists, but his race created challenging societal impediments in the way he pursued his artistic muse—in his social interactions with whites, in the way he produced his art, in the clientele that patronized him, and on deeply personal levels. This chapter demonstrates how Duncanson not only survived as an artist of color living in antebellum times, but also managed to establish a solid reputation as one of America’s finest representatives of the immensely popular Hudson River School of painting. It also helps resolve the longstanding question as to whether Duncanson crossed racial lines to attain success.
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Bellows, Amanda Brickell. "Oil Paintings." In American Slavery and Russian Serfdom in the Post-Emancipation Imagination. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655543.003.0005.

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After the abolition of serfdom and slavery, Russian and American artists created oil paintings of peasants and African Americans that revealed to viewers the complexity of their post-emancipation experiences. Russian painters from the Society of Traveling Art Exhibitions and American artists including Henry Ossawa Tanner, William Edouard Scott, and Winslow Homer created thematically similar works that depicted bondage, emancipation, military service, public schooling, and the urban environment. Their compositions shaped nineteenth-century viewers’ conceptions of freedpeople and peasants and molded Russians’ and Americans’ sense of national identity as the two countries reconstructed their societies during an era of substantial political and social reform.
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Miller, R. Baxter. "Langston Hughes, 1902-1967:A Brief Biography." In A Historical Guide to Langston Hughes. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195144338.003.0002.

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Abstract As a now somewhat legendary name for so many readers of varying persuasions (he was more popular and less revered in his own century), Langston Hughes was perhaps the most wide-ranging and persistent black American writer in the twentieth century. From the Harlem Renaissance of the early twenties, to the Black Arts reorientations of the sixties, his short stories, novels, dramas, translations, and seminal anthologies of the works of others at home and abroad helped unify peoples in the African Diaspora. He helped nurture, in other words, so profoundly the generations after him. His early writing was an innovative complement to the talent of his contemporaries, including the Keatsian verse of Countee Cullen, the avantgarde and even prophetic painting of Aaron Douglas, and the musical flamboyance of Josephine Baker. In his late twenties and early thirties, he helped inspire the writers Margaret Walker and Gwendolyn Brooks.
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Plasa, Carl. "Adding to the Picture: New Perspectives on David Dabydeen’s ‘Turner’." In Literature, Art and Slavery. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9780748683543.003.0002.

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This chapter examines David Dabydeen’s ‘Turner’ (1994), an ekphrastic response to J. M. W. Turner’s Slavers Throwing Overboard the Dead and Dying—Typhon Coming On (1840), more commonly known as The Slave Ship. The chapter begins with an outline of the historical incident memorialised in the painting that inspires Dabydeen’s text—the atrocity aboard the Zong in 1781. The chapter proceeds to situate the text in dialogue with John Ruskin’s ‘Of Water, as Painted by Turner’ in Modern Painters I (1843) but, in a departure from other critics, places the emphasis not on the set-piece ekphrastic rendition of The Slave Ship with which ‘Of Water’ closes but earlier parts of that chapter’s art-critical reflection, analysing how they obliquely inform Dabydeen’s poetic vision. While these elements of Ruskin’s account of Turner have been sidelined in critical readings of ‘Turner,’ two other intertexts have been much more significantly neglected: Macbeth (1606) and Toni Morrison’s Beloved (1987). ‘Turner’’s engagement with Morrison’s novel is particularly noteworthy because it enables the poem to sidestep the Anglo-Caribbean lines of influence which most critics see in it, moving it into a new relationship with the African American literary tradition instead.
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