To see the other types of publications on this topic, follow the link: African American photographers.
Journal articles on the topic 'African American photographers'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'African American photographers.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Quirke, Carol. "Imagining Racial Equality." Radical History Review 2018, no. 132 (2018): 96–125. http://dx.doi.org/10.1215/01636545-6942440.
Full textAbstract:
Abstract Local 65 United Warehouse Workers Union (1933–1987), which became District 65 United Auto Workers, promoted photography with a camera club, and a member-edited newspaper New Voices, featuring photographs taken by members. This left-led, New York City distributive industry union began in 1933 on the Lower East Side, and it became the city’s second largest local. The union utilized photography to normalize the role of African American members within the union and to advance a civil rights and anti-racism agenda. This article includes photographs taken by member-photographers, and photo-reproductions of New Voices. New Voices’ photographs included African Americans in the everyday life of the union, challenged race-based labor segmentation, supported community struggles, and defied racial norms in midcentury America.
2
Ainsworth, Alan John. "“A Private Passion”." Southern California Quarterly 101, no. 3 (2019): 317–38. http://dx.doi.org/10.1525/scq.2019.101.3.317.
Full textAbstract:
Photographer Bob Douglas’s 1940s–1990s career illustrates the race-based constraints experienced by African American photographers. Analyses of his images of jazz performers bring to light his rapport with the musicians and his sensitivity to their music and the differences between his practice and from that of white jazz photographers. His oeuvre is an important contribution to the history of both jazz and photography.
3
Mason, Matthew D., and John Vincent Jezierski. "Enterprising Images: The Goodridge Brothers, African American Photographers, 1847-1922." Michigan Historical Review 29, no. 2 (2003): 172. http://dx.doi.org/10.2307/20174046.
Full text
4
Lavernhe, Margaux. "Re-encoding Glamour from Ghana to England: Illustrated Magazines, Gender Norms and Black Identities through the Lens of James Barnor (1950s–1980s)." Sources 6 (2023): 183–217. http://dx.doi.org/10.4000/11tba.
Full textAbstract:
How have gender and racial norms conveyed by illustrated magazines—whose circulation exploded in Africa in the 1960s—affected photographers’ local practices? And how, in turn, have they themselves generated this gendered visual order? This article aims to shed light on this two-fold question by proposing a diachronic analysis of the influence of models of femininity transmitted by the illustrated press on the visual imagination of a Ghanaian photographer—as seen in his photographs taken between the 1950s and the 1980s. It explores the links between the publications of the pan-African magazine Drum (the most widely circulated magazine in English-speaking Africa at the time) and its translation into the art of portraiture as practiced by James Barnor (1929-), a photographer with a transnational career, between Ghana and England. Because his professional and personal career path tracked the evolution of these gendered norms, James Barnor became both the repository and the instigator of an idealized vision of “the” African woman.By means of an intersectional focus, the issues of gender norms and of racial biases are examined in parallel to better understand how the photographer appropriated throughout his career the shifting codes of a “female glamour” reinvented for Africa during the post-independence period. While numerous studies have examined the modalities of this codification, in the present paper they are addressed through an in-depth exploration of the photographer's archives, now held in Paris, and combined with an analysis of early issues of Drum. The aim is to juxtapose images intended for publication, i.e. public, with private images in order to consider how the standards of fashion photography infused Barnor’s practices which lie at the crossroad of different social worlds. The corpus composed of portraits of young women is also informed by numerous interviews with the photographer and some of his models, which provide behind-the-scenes insights relative to the published images by exploring their political and social contexts.We first look at Drum’s editorial strategy from its launch in South Africa to its expansion throughout West Africa. While the magazine initially borrowed from white Western references such as Life, it gradually became, to some extent, a showcase for black pride on the continent and in the global diaspora. Then, we study Barnor’s early studio practice as already acutely aware of the codes of femininity enacted by the magazine: this is shown through his “recycling” of the poses and the composition of the images. During the ten years he spent in England, from 1959 to 1969, his collaboration with Drum gave rise to a gallery of portraits of anonymous young women, who became ordinary icons for an ideal African femininity in the context of the diaspora. Finally, in the 1970s, Barnor’s return to Ghana saw the reuse of these codes inherited from the globalized fashion industry combined with the emerging iconography produced by African-American models as a means to create social documentary. In this way, he contributed to an aesthetic of blackness that was constructed within a transnational framework.
5
Saretzky, Gary D. "Exceptional Cameraworkers: Early Black Photographers in New Jersey." New Jersey Studies: An Interdisciplinary Journal 9, no. 2 (2023): 196–254. http://dx.doi.org/10.14713/njs.v9i2.331.
Full textAbstract:
The few known African American photographers in the nineteenth and early twentieth centuries faced significant challenges, including racial prejudice and competition from white photographers for both white and the relatively few Black customers. The New Jersey photographers examined here were no exception and this may help explain why images by an artist with a long career, William M. Dutton, are so hard to find today and why others, like Isaiah Burton and Levi Bankson, worked only briefly in the medium before moving on to other, more remunerative occupations. Beginning his photographic career at the end of the 1800s, Albert Thomas Moore achieved considerable success in the first part of the twentieth century in New Brunswick and South River but less so in Atlantic City. For additional illustrations to this article, see http://saretzky.com/download/black-photographers-keynote.pdf.
6
Verheul, Jaap. "On Social Media Photography." Afterimage 51, no. 2 (2024): 80–113. http://dx.doi.org/10.1525/aft.2024.51.2.80.
Full textAbstract:
This article looks at the photography of Kris Graves and the circulation of the artist’s images on his social media accounts as a way of promoting social progress and racial justice, with a focus on his 2016 A Bleak Reality photoseries for Vanity Fair. The series consists of eight images that address the haunting specters of police brutality against eight African American male citizens who lost their lives at the hands of the state. Looking at Instagram, I posit a threefold claim about the social media photograph. First, I argue against the association of the social photo with the everyday. I examine a photoseries that initially participated in an economy of art but then migrated across a network of social relations in order to enhance its visibility—its dissemination ushering in the social life of the photograph that undergirds Black Lives Matter. Second, I suggest that the affective residues of Instagram’s content linger in an indexical trace that transcends the transplatform network’s digitally composited, modified, duplicated, and distributed images. This dual focus illuminates how social media function, on the one hand, as a technology of race while they allow Graves, on the other hand, to document instances of police brutality against African Americans. Third, in so doing, this article locates A Bleak Reality within a genealogy of civic media in order to explore how the co-optation of photography’s reproductive affordances by African American photographers, artists, scholars, intellectuals, and abolitionists has allowed them to construct a counter-archive of Black cultural production around historical movements for racial justice.
7
Kim, William, and Torunn Sivesind. "Patient Perceptions of Dermatologic Photography: Scoping Review." JMIR Dermatology 5, no. 1 (2022): e33361. http://dx.doi.org/10.2196/33361.
Full textAbstract:
Background Medical photography is used extensively in dermatology to record disease progression, measure treatment response, and help teach patients about skin disease; such photos are also commonly utilized in teledermatology, medical education, research, and medical reference websites. Understanding patient perceptions of medical photographs obtained during dermatologic care in the clinic or hospital setting is critical to enable the delivery of high-quality, patient-centered medical care. Objective The aims of this study were to elucidate patient perceptions of skin photos in dermatology and to explore possible next steps in improving the patient experience with medical photography in the hospital or clinic setting. Methods A scoping review of the literature was performed using the PubMed database, with clinic- or hospital-based full-text publications in English spanning the last 10 years considered for inclusion. Results The majority of included studies (10/11, 91%) found positive patient attitudes toward medical photographs. The majority of patients (1197/1511, 79.2%) felt that medical photographs could improve medical care in the clinic setting. Written consent detailing all photo uses, including secondary uses (such as research or teaching), was preferred, apart from in 1 study. Patients preferred or found it acceptable for the photographer of their medical photos to be a physician (1301/1444, 90.1%). Clinic-owned cameras with departmental record storage were the preferred modality. Latinx and African American patients expressed less trust in the utility of medical photographs to improve care, compared with Asian and White patients. The minimal number of available publications on this topic and the inclusion of articles older than 5 years are limitations, since patient perceptions of medical photography may have rapidly changed during this time span, particularly in light of the COVID-19 pandemic and the subsequent increase in teledermatology visits. Conclusions Patients reported positive perceptions of dermatologic photography for improving their medical care. Ethnic disparities in patient perceptions require further exploration to better elucidate nuances and develop interventions to improve the experience of marginalized patients. Building patient trust in nonphysician photographers may enhance clinic efficiency. Although clinic-owned cameras are well-accepted by patients, improved patient education surrounding the safety of electronic medical record phone applications is needed.
8
Gleaton, Tony. "Manifesting Destiny." Boom 5, no. 2 (2015): 12–21. http://dx.doi.org/10.1525/boom.2015.5.2.12.
Full textAbstract:
Manifesting Destiny is a work in progress by photographer Tony Gleaton. It is a historical examination of African-descended people in the greater Trans-Mississippi West, and an attempt to counter the notion that Africans in North America, both enslaved and free, owe their historical beginnings and foothold on this continent solely to the settlements along the eastern seaboard of the United States. In this article, Gleaton chronicles the interactions, failures, accomplishments, and misdeeds of people who were part of the African diaspora in California. Through photographs and accompanying text he identifies the locations of particular events and explains what transpired there.
9
Newbury, Darren. "Through a lens darkly: Black photographers and the emergence of a people directed by Thomas Allen Harris Civil rights childhood: Picturing liberation in African American photobooks by Katharine Capshaw." Visual Studies 31, no. 4 (2016): 356–60. http://dx.doi.org/10.1080/1472586x.2015.1123957.
Full text
10
Muttalib, Fuad. "The Characters of Children in Alice Walker’s “Everyday Use” and Eudora Welty’s “A Worn Path”: A Comparative Study." International Journal of Language and Literary Studies 3, no. 2 (2021): 166–74. http://dx.doi.org/10.36892/ijlls.v3i2.567.
Full textAbstract:
This article tries to compare between two well-known American short stories, “A Worn Path” by Eudora Welty and “Everyday Use” by Alice Walker, from a comparative perspective. The author of the first of these stories is an African-American novelist, short story writer, poet, and social activist. Alice Walker and the other story is written by an American short story writer, novelist and photographer, who wrote about the American South, Audra Welty. The specific reasons behind choosing these two short stories because they are written by women writers from different cultures, both deal with racial issues, but more importantly is that both include children characters that can add an attribution to be representations of the new African- American generation. Walker’s story includes the characters of two African- American daughters; Maggi and Dee, each of these characters behave in a different way, a behavior which consequently represents a special attitude towards the new generation of African- Americans. While in Welty’s story, we find the character of the grandson of the protagonist, Phoenix, who has a disease which deprived him from his ability to speak. This study analyses how these three characters provide different angles of seeing how the new generation of African- Americans is represented through a comparative outlook.
11
Williams, Jerome D., William J. Quails, and Sonya A. Grier. "Racially Exclusive Real Estate Advertising: Public Policy Implications for Fair Housing Practices." Journal of Public Policy & Marketing 14, no. 2 (1995): 225–44. http://dx.doi.org/10.1177/074391569501400205.
Full textAbstract:
The authors ‘field experiment indicates that including African-Americans in real estate advertisements produces a positive effect for (1) African-American readers in terms of liking the models pictured in the photographs and (2) African-American high ethnic identifiers in terms of identifying with the models pictured in the photographs. However, based on responses to the dependent measures of behavioral purchase intentions and attitude toward the advertising campaign, message, and product, the results do not support the hypothesis that racially exclusive advertising sends a racially exclusive message. A follow-up content analysis of real estate newspaper advertising suggests that cities with higher percentages of ethnic minorities are more responsive to including more ethnic minorities in real estate advertisements. However, the results do not show evidence of a chilling effect, that is, a reduction in the use of real estate advertisements with models.
12
Shirts, Peter. "The African American Collections Relating to Music at Emory University’s Rose Library." Notes 80, no. 4 (2024): 605–31. http://dx.doi.org/10.1353/not.2024.a928765.
Full textAbstract:
ABSTRACT: United States music history has for years privileged whiteness and largely ignored or disregarded the contributions of African Americans. The Stuart R. Rose Manuscript, Archives, and Rare Book Library at Emory University in Atlanta, Georgia, houses over thirty collections (and growing) related to African American musicians that could be used to both uncover and recover the critical role African Americans played in the music culture of the United States. This article presents a brief overview of these holdings to date, including the papers of composers (such as William Dawson, George Walker, and Undine Smith Moore), entertainers (such as Victoria Spivey, Bricktop, and Geoffrey Holder), and researchers (such as Rae Linda Brown, Geneva Southall, and Delilah Jackson). Types of materials held include manuscript letters and scores, photographs, and published music (both print and recorded) by and about African Americans.
13
Persaud, Natasha. "Inside the Nation of Islam." American Journal of Islam and Society 20, no. 3-4 (2003): 198–200. http://dx.doi.org/10.35632/ajis.v20i3-4.1840.
Full textAbstract:
The author, who embraced the teachings of Louis Farrakhan's revampedNation of Islam (NOI) in the late I 970s to find solutions to America's raceproblems, left disillusioned in the mid-1990s. What he witnessed as hepassed through the organization's rank and file compelled him to compilehis experiences to give others a clearer understanding of the Nation's originsas well as its role concerning the issues facing African-Americans.Inside the Nation of Islam is divided into I I chapters and contains aforeword by Mike Wallace an epilogue by the author, extensive notes, abibliography, and an index. Also included are several photographs thatillustrate White's extensive involvement in the NOLWith a brief overview of African-American history prior to the NOI'screation, chapters 1 and 2 touch on the Harlem Renaissance, the origin ofthe Jim Crow laws, and the mass exodus of African-Americans from theSouth to the North. With the fall of similar resistance movements, theNOJ stepped in to address the bitter disillusionment that many of themexperienced upon their arrival in the North ...
14
Klein, Jeanne. "The Cake Walk Photo Girl and Other Footnotes in African American Musical Theatre." Theatre Survey 60, no. 1 (2018): 67–90. http://dx.doi.org/10.1017/s0040557418000509.
Full textAbstract:
On 22 August 1897, theAmerican Woman's Home Journalpublished seven photographs of “The Cake Walk as It Is Done by Genuine Negroes” in which “Williams and Walker Show How the Real Thing Is Done before the Journal Camera.” In this series, the African American stars Bert Williams, George Walker, Belle Davis, and Stella Wiley perform their popular cake walk act with situational humor in medias res before an unknown photographer in a nondescript space. Among the seven selected poses, one intriguing photograph in the lower right-hand corner depicts the encircled dancers gazing down upon an empty space in the center. The subject of their gaze becomes apparent when comparing the magazine images with the seven “Post Cards” Franz Huld published as part of his “Cake Walk/Negro Dance” series around 1901. Although the performers’ poses are the same, the postcard includes extra space between Wiley and Walker to feature a young girl of mixed racial heritage bending forward while hiking the back of her dress with her smiling face proudly held high (Fig. 1). If standing upright, she appears to be less than four feet tall and perhaps five to nine years of age. Given the obscure date and location of her photo shoot, her birth year could range anywhere from the mid-1880s to the early 1890s. Like Thomas F. DeFrantz, an African American dance theorist who gazes upon two 1920s photographs of other dancing girls, my gaze leads me to wonder about her identity, how she met and socialized with these four dancers, and whether she pursued a theatrical career.
15
van Wallendael, Lori R., and Julia C. Kuhn. "Distinctiveness is in the Eye of the Beholder: Cross-Racial Differences in Perceptions of Faces." Psychological Reports 80, no. 1 (1997): 35–39. http://dx.doi.org/10.2466/pr0.1997.80.1.35.
Full textAbstract:
46 participants rated the distinctiveness of a series of 40 photographed faces of black and white targets. Average ratings of African-American male and female targets were higher for African-American raters than for white raters. Average ratings of Caucasian male and female targets were higher for Caucasian raters than for African-American raters. No significant effects of targets' sex or raters' sex were seen. Results are discussed in relation to cross-racial effects in face recognition by eyewitnesses.
16
Houston, Benjamin. "Not as It Is Written." Public Historian 42, no. 2 (2020): 78–100. http://dx.doi.org/10.1525/tph.2020.42.2.78.
Full textAbstract:
This article discusses an international exhibition that detailed the recent history of African Americans in Pittsburgh. Methodologically, the exhibition paired oral history excerpts with selected historic photographs to evoke a sense of Black life during the twentieth century. Thematically, showcasing the Black experience in Pittsburgh provided a chance to provoke among a wider public more nuanced understandings of the civil rights movement, an era particularly prone to problematic and superficial misreadings, but also to interject an African American perspective into the scholarship on deindustrializing cities, a literature which treats racism mostly in white-centric terms. This essay focuses on the choices made in reconciling these thematic and methodological dimensions when designing this exhibition.
17
Breen, Deborah. "Contingency and Constraint." Transfers 5, no. 3 (2015): 142–45. http://dx.doi.org/10.3167/trans.2015.050312.
Full textAbstract:
Museum of Modern Art (MoMA) 11 West 53rd Street, New York, NY 10019 http://www.moma.org/interactives/exhibitions/2015/onewayticket/ Admission: USD 25/18/14 “I pick up my life, / And take it with me, / And I put it down in Chicago, Detroit, / Buff alo, Scranton, / Any place that is / North and East, / And not Dixie.” Th ese are the opening lines from “One-Way Ticket,” by African-American poet, Langston Hughes (1902–1967). Th e poem provides the emotional and historical core of the “Migration” paintings by Jacob Lawrence (1917–2000), a series that depicts the extraordinary internal migration of African Americans in the twentieth century. Not coincidentally, the poem also provides the title of the current exhibition of the sixty paintings in Lawrence’s series, on display at MoMA, New York, from 3 April to 7 September 2015.1 Shown together for the first time in over twenty years, the paintings are surrounded by works that provide context for the “great migration”: additional paintings by Lawrence, as well as paintings, drawings, photographs, texts, and musical recordings by other African-American artists, writers, and performers of the early to mid-twentieth century.
18
Davis, Mary, Rhonda Jackson, Tina Smith, and William Cooper. "The Hearing Aid Effect in African American and Caucasian Males as Perceived by Female Judges of the Same Race." Language, Speech, and Hearing Services in Schools 30, no. 2 (1999): 165–72. http://dx.doi.org/10.1044/0161-1461.3002.165.
Full textAbstract:
Prior studies have proven the existence of the "hearing aid effect" when photographs of Caucasian males and females wearing a body aid, a post-auricular aid (behind-the-ear), or no hearing aid were judged by lay persons and professionals. This study was performed to determine if African American and Caucasian males, judged by female members of their own race, were likely to be judged in a similar manner on the basis of appearance, personality, assertiveness, and achievement. Sixty female undergraduate education majors (30 African American; 30 Caucasian) used a semantic differential scale to rate slides of preteen African American and Caucasian males, with and without hearing aids. The results of this study showed that female African American and Caucasian judges rated males of their respective races differently. The hearing aid effect was predominant among the Caucasian judges across the dimensions of appearance, personality, assertiveness, and achievement. In contrast, the African American judges only exhibited a hearing aid effect on the appearance dimension.
19
McGee, Holly Y., Shameka Neely-fairbanks, Tristen Hall, and Jayni Walker. "South Africa and the Black American Imaginary." Contexts 20, no. 2 (2021): 48–53. http://dx.doi.org/10.1177/15365042211012071.
Full textAbstract:
For the author and photographer of this photo essay—a well-rounded southern woman who has traveled to more than 17 countries—there was something different yet very familiar about South Africa. This essay follows a group on a cultural immersion trip from Cincinnati, Ohio, throughout several cities in South Africa over five weeks.
20
Petty, Adrienne Monteith. "The Honey Pond and the Flapjack Tree." Agricultural History 96, no. 1-2 (2022): 1–28. http://dx.doi.org/10.1215/00021482-9619778.
Full textAbstract:
Abstract This article analyzes and compares the vision for the future of agriculture presented at two Depression-era world fairs—the 1933 Chicago World's Fair and the 1940 American Negro Exposition—to highlight double standards in agricultural policy. An examination of correspondence, federal records, promotional materials, photographs, and news articles related to the two fairs reveals that the United States Department of Agriculture (USDA) envisioned a subordinate and ancillary role for African Americans in its vision of industrial agriculture. The exhibits at both fairs embodied the perspective that informed the USDA's unequal approach to lending and administering federal farm programs, an approach that endures in similar ways today.
21
Nasar, Jack L., and Christopher H. Holloman. "Playground Characteristics to Encourage Children to Visit and Play." Journal of Physical Activity and Health 10, no. 8 (2013): 1201–8. http://dx.doi.org/10.1123/jpah.10.8.1201.
Full textAbstract:
Background:The research sought to find the salient perceived characteristics of playgrounds for African-American children and their parents, and to test effects of changes in those characteristics on playground choice.Methods:Thirty-one African-American children and their parents sorted 15 photographs of playgrounds for similarity. Nonmetric multidimensional scaling on the similarity scores and correlations between the resulting dimensions and judged characteristics of each playground revealed salient perceived characteristics. Study 2 had 40 African-American children and their parents view pairs of photographs, manipulated on the salient characteristics, and pick the one to play on (child question) or for the child to play on (parent question). A third study inventoried and observed children’s activities in 14 playgrounds.Results:Study 1 found seats, fence, playground type, and softness of surface as salient perceived characteristics of the playground. Study 2 found that participants were more likely to pick playgrounds with equipment and playgrounds with a softer surface. Study 3 found higher levels of physical activity for playground settings with equipment.Conclusions:The findings confirm correlational findings on the desirability of equipment and safety. Communities need to test the effects of changes in playgrounds.
22
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.
Full textAbstract:

 
 
 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 version of the Black aesthetic in the early 1960s, where his photography subverted the essentialized African-American subject. My paper explores DeCarava’s work in three ways, namely in how he, (a) approaches art as a site for encounter between the self and subjectivity, (b) engages with the Black aesthetic as survival and communication, and (c) subverts detrimental conceptions of race through embodied acts of listening and what I read as, ‘a persistent hereness.’ I interpret a persistent hereness in DeCarava’s commitment to presenting the unwavering presence of the non-essentialized African-American subject. The communities and moments he captures are here and persistently refuse, then, to disappear. Through my exploration of the Black Arts Movement in my engagement with DeCarava’s work, and specifically through his and Hughes’ (1967) book, The Sweet Flypaper of Life, we are invited to reimagine disability-as-a-problem condition (Titchkosky, 2007) and deafness as an ‘excludable type’ (Hindhede, 2011) differently. In other words, this journey hopes to reveal what the Black Arts Movement and Black aesthetic, through DeCarava, can teach Deaf and disability studies about moving with art as communication, survival, and a persistent hereness, such that different stories might be unleashed from the stories we are already written into.
 
 
23
Garland, Claire. "Indian Summer at Sand Hill: The Revey and Richardson Families at the New Jersey Shore." New Jersey Studies: An Interdisciplinary Journal 9, no. 1 (2023): 168–224. http://dx.doi.org/10.14713/njs.v9i1.312.
Full textAbstract:
This essay discusses the centuries-long history of Monmouth County’s Lenape-Delaware Revey clan and the Cherokee Richardson clan using historical records and photographs from Monmouth County and the States of New Jersey and New York – as well as from the Sand Hill Indian Historical Association and private family archives. Although much of the general public today persists in thinking that all Lenape have left the state, small communities continued to inhabit the northern shore area throughout the colonial period and to this day, as documented by land transactions, vital statistics, censuses, military records, and archival references. They intermarried with whites, other indigenous people, and African Americans, and contributed greatly to their communities. The story of the Sand Hill Indians of Monmouth County told in part here illuminates the historical interactions of Native American, European, and African cultures at the New Jersey shore and how those interconnected communities evolved over two centuries.
24
Corbould, Clare. "Race, Photography, Labor, and Entrepreneurship in the Life of Maurice Hunter, Harlem’s “Man of 1,000 Faces”." Radical History Review 2018, no. 132 (2018): 144–71. http://dx.doi.org/10.1215/01636545-6942465.
Full textAbstract:
Abstract In 1925, African American newspapers began reporting on Maurice Hunter’s work as a model for prominent visual and commercial artists, illustrators, and art students. By the 1950s, Hunter’s image had appeared on millions of advertising billboards, in all the major magazines, and in murals and statues in banks, parks, and department stores from Wall Street to Rochester to Cincinnati. Because no agency would represent a black model, Hunter was forced to raise his own public profile and create work opportunities. He did so by emphasizing his authenticity as a performer of nonwhite roles and at the same time his versatility as someone who could model for any role, including female and/or white. As well as permitting Hunter some degree of creative control over his work, his approach garnered him considerable esteem among elite African Americans. They also admired Hunter’s effort to control use of his image whenever photographed. This article examines Hunter’s labor, including his own effort to record it through scrapbooks he donated to the New York Public Library.
25
Hoard, Adrienne Walker. "Women of power- spirit mask series: 12 faces of a north american african woman." Cartema, no. 9 (November 2, 2021): 160. http://dx.doi.org/10.51359/2763-8693.2021.252322.
Full textAbstract:
I am writing about my first series of painted photographs, The Women of Power-Spirit Mask series. There are twelve works in this series, and all works are oil pastel and acrylic paint on my photographs, which are printed on archival inkjet paper.
26
Gallagher, Nancy Ambrose, Kimberlee A. Gretebeck, Jennifer C. Robinson, Elisa R. Torres, Susan L. Murphy, and Kristy K. Martyn. "Neighborhood Factors Relevant for Walking in Older, Urban, African American Adults." Journal of Aging and Physical Activity 18, no. 1 (2010): 99–115. http://dx.doi.org/10.1123/japa.18.1.99.
Full textAbstract:
Focus-group and photo-voice methodology were used to identify the salient factors of the neighborhood environment that encourage or discourage walking in older, urban African Americans. Twenty-one male (n = 2) and female (n = 19) African Americans age 60 years and older (M = 70 ± 8.7, range = 61–85) were recruited from a large urban senior center. Photographs taken by the participants were used to facilitate focus-group discussions. The most salient factors that emerged included the presence of other people, neighborhood surroundings, and safety from crime, followed by sidewalk and traffic conditions, animals, public walking tracks and trails, and weather. Future walking interventions for older African Americans should include factors that encourage walking, such as the presence of other friendly or active people, attractive or peaceful surroundings, and a sense of safety from crime.
27
Keenan, Kevin L. "Skin Tones and Physical Features of Blacks in Magazine Advertisements." Journalism & Mass Communication Quarterly 73, no. 4 (1996): 905–12. http://dx.doi.org/10.1177/107769909607300410.
Full textAbstract:
This study explores how discrimination based on differences in skin complexion and physical characteristics among African-Americans is conveyed by the mass media. A content analysis of advertisements and editorial photographs appearing in black and mainstream magazines from 1989 through 1994 shows that blacks in advertisements have lighter complexions and more caucasian features than those in editorial photographs. Black females in advertisements are lighter than their male counterparts.
28
Lester, Paul Martin. "African-American Photo Coverage in Four U.S. Newspapers, 1937–1990." Journalism Quarterly 71, no. 2 (1994): 380–94. http://dx.doi.org/10.1177/107769909407100211.
Full textAbstract:
In a study that analyzed more than 250,000 photographs, among the findings was that coverage of African-Americans had increased, but that the price for added visibility was an increase in stereotypical (crime, sports, and entertainment) content categories. This finding supported a previous study of magazines for a similar time period. It is concluded that journalists need to be sensitive to the needs of all members of a community and not merely those who subscribe.
29
BERNIER, CELESTE-MARIE. "“You Can't Photograph Everything”: The Acts and Arts of Bearing Witness in Joseph Rodríguez's Still Here: Stories after Katrina (2008)." Journal of American Studies 44, no. 3 (2010): 535–52. http://dx.doi.org/10.1017/s0021875810001222.
Full textAbstract:
Joseph Rodríguez re-creates and represents African American experiences which yet remain hidden or elided in mainstream memorializations of Hurricane Katrina. Intent upon giving “a voice to the voiceless,” Rodríguez relies upon an aesthetics of rupture and juxtaposition to create multiple narratives resistant to any reformist impetus towards cathartic trajectories of moral uplift. Fragmented and elliptical, his photographs, diary entries and textual captions operate in slippery relation to one another to signify upon unimaginable traumas. Rodríguez's subjects maintain agency by engaging in political, cultural and social acts of resistance. Signifying on the documentary mode, he creates self-reflexive compositions which rely on a symbolic visual language to challenge white mainstream tendencies towards depicting African Americans as types rather than as individuals. Refusing to objectify, appropriate or colonize private black testimonies by documenting the black body as a spectacular site of suffering, he turns instead to individual identities as intertwined with family histories as the only effective way in which to begin to explore the atrocities enacted in the aftermath of Katrina. Anti-explication, anti-exhibition and anti-sensationalism, Rodríguez's Still Here is a work of disjuncture, reimagining and experimentation.
30
Williams, Patrice Jane. "Ebony Magazine Archive." Charleston Advisor 23, no. 4 (2022): 20–23. http://dx.doi.org/10.5260/chara.23.4.20.
Full textAbstract:
The Ebony Magazine Archive is a very important African-American cultural resource of images, news, entertainment, and much more between the years 1945-2014. It is a primary resource database geared toward academic research in the humanities, but other disciplines may also benefit from the rich content of the archive. Most specifically researchers in art, cultural studies, history, literature, mass media, music, business, and marketing would benefit from the photographs, cartoon/comic strips, advertisements, film reviews, and news reports. In addition, it provides essential images of key African American figures, businesses, and artists. The searching and search results interface lets the user explore by content type, Boolean/phrases, and SmartText searching among other filters. All content is available through PDF for great accessibility and convenience.
31
Ye, Ying. "Gender Issues Reflected in Personal and Family Photographs in African American Obituaries." Comparative Literature: East & West 15, no. 1 (2011): 104–15. http://dx.doi.org/10.1080/25723618.2011.12015398.
Full text
32
Sturdivant, Toni Denese, and Iliana Alanís. "Teaching through culture." Journal for Multicultural Education 13, no. 3 (2019): 203–14. http://dx.doi.org/10.1108/jme-03-2019-0019.
Full textAbstract:
Purpose Oftentimes, attempts at culturally relevant early childhood practices are limited to diverse materials in the physical environment. The purpose of this study is to document the culturally relevant teaching practices, specifically for African American children, within a culturally diverse preschool classroom with a Black teacher. Design/methodology/approach The researchers used qualitative methodology to answer the following question: How does a Black preschool teacher enact culturally relevant practices for her African American students in a culturally diverse classroom? Data sources included field notes from classroom observations, transcripts from both formal and informal semi-structured interviews with a Master Teacher and photographs. Findings The authors found that the participant fostered an inclusive classroom community and a classroom environment that reflected the range of human diversity. She was intentional in her integration of culturally representative read alouds and lessons designed to incorporate students’ interests. Finally, she engaged families by facilitating their involvement in her curriculum. However, social justice aspects were absent during the time of the study. Originality/value This paper contributes to the literature in that it documents a high-quality early childhood classroom with a teacher, that is, actively trying to incorporate the cultures of her African American students. Many extant studies provide examples of superficial culturally relevant pedagogy (CRP) being enacting in early childhood classrooms or the focus is not specifically on African American children.
33
Green, Hilary N. "Teaching Black Educational Philanthropy Through Photography, 1863–1920s." Public Historian 46, no. 2 (2024): 62–78. http://dx.doi.org/10.1525/tph.2024.46.2.62.
Full textAbstract:
This article explores the use of photography as a strategy for teaching Black educational philanthropy. Ordinary consumer-philanthropists, white and Black, saw value in the production, sale, and circulation of photography for the support of African American schools in the former Confederate states. In reading these historic photographs, students bear witness to the curated photographic collection of liberated children, traveling choirs, and Historically Black College and University (HBCU) campus communities who left little-to-no written records. The materiality and content of the historic photographs enhances the teaching of Black educational philanthropy from the Civil War to the early Jim Crow era.
34
Coleman, Renita. "Race and Ethical Reasoning: The Importance of Race to Journalistic Decision Making." Journalism & Mass Communication Quarterly 80, no. 2 (2003): 295–310. http://dx.doi.org/10.1177/107769900308000205.
Full textAbstract:
A controlled experiment is used to investigate the effects of race of news subjects on journalists' ethical reasoning. In this study, race of the people in the ethical dilemmas presented had a significant effect on ethical reasoning. When participants knew the race because they saw photographs, their ethical reasoning scores were higher when the people in the ethical dilemmas were white than when they were African American.
35
Dapena-Tretter, Antonia, and Eloise Pelton. "African Art at the Kreeger Museum: Validating a Collection and Its Historic Stakeholders." Collections: A Journal for Museum and Archives Professionals 14, no. 1 (2018): 63–93. http://dx.doi.org/10.1177/155019061801400104.
Full textAbstract:
Written by The Kreeger Museum's former head of education and its founding archivist, this article looks closely at provenance and makes use of primary source documents and photographs to relive the rich story of how The Kreeger Museum's African art collection came to be. A detailed account of the negotiations, communications, transactions, and circulations of people, objects, and ideas—the following narrative offers an interesting case study into the early European and American art collectors' circuit.
36
Ncube, Caroline B., and Desmond O. Oriakhogba. "Monkey Selfie and Authorship in Copyright Law: The Nigerian and South African Perspectives." Potchefstroom Electronic Law Journal 21 (December 13, 2018): 1–35. http://dx.doi.org/10.17159/1727-3781/2018/v21i0a4979.
Full textAbstract:
A photograph taken by a monkey is in the centre of a copyright claim in the famous monkey selfie case in the United States of America. Suing as next friend of the monkey, named Naruto, the People for the Ethical Treatment of Animals contended that copyright in the photograph belongs to the monkey as author of the photograph since the monkey created the photograph unaided by any person. On the motion of the defendants, the case was dismissed by the US district court on the ground that the concept of authorship under US Copyright Act cannot be defined to include non-human animals. The dismissal order was confirmed by a three-judge panel of the US Court of Appeal of Ninth Circuit a request for an appeal before a panel of eleven judges of the appellate court was denied. This paper reviews the case in the light of the concept of authorship and ownership, with specific focus on the authorship of photographs, under the Nigerian Copyright Act and South African Copyright Act. In so doing, it examines and relies on Ginsburg's six principles for testing authorship to test the authorship of photographs under the Acts. It also relies on the concepts of subjective rights and legal personality to explain the implication of conferring copyright ownership on non-human animals. It argues that for authorship of and ownership of the copyright in a photograph to be established under the Nigerian Copyright Act and South African Copyright Act, a legal person must have created the photograph. Consequently, for the purposes of argument, the paper proceeds on the assumption that the monkey selfie case originated from Nigeria or South Africa. After analysing relevant statutory provisions and case law, the paper finds that the Nigerian Copyright Act and the South African Copyright Act do not envisage the conferral of authorship in particular, and copyright protection in general, to a non-human animal. It then concludes that the courts in both countries would not reach a different conclusion from the one made by the US courts.
 
37
Roy, Monique S., Malvin N. Janal, and Alec Roy. "Medical and Psychological Risk Factors for Incident Hypertension in Type 1 Diabetic African-Americans." International Journal of Hypertension 2011 (2011): 1–10. http://dx.doi.org/10.4061/2011/856067.
Full textAbstract:
Objective. To determine risk factors for the development of hypertension among African-Americans living with type 1 diabetes.Methods. African-Americans with type 1 diabetes (n= 483) participated in a 6-year followup. At both baseline and followup blood pressure was measured twice in both sitting and standing positions using a standard protocol. Patients had a structured clinical interview, ocular examination, retinal photographs, and blood and urine assays and completed the Hostility and Direction of Hostility Questionnaire (HDHQ) and the Beck Depression Inventory (BDI).Results. Of the 280 diabetic patients with no hypertension at baseline, 82 (29.3%) subsequently developed hypertension over the 6-year followup. Baseline older age, longer duration of diabetes, family history of hypertension, greater mean arterial blood pressure, overt proteinuria, increasing retinopathy severity, peripheral neuropathy, smoking, and higher hostility scores were significantly associated with the development of hypertension. Multivariate analyses showed that higher hostility scores and overt proteinuria were significantly and independently associated with the development of hypertension in this population.Conclusions. The development of hypertension in African-Americans living with type 1 diabetes appears to be multifactorial and includes both medical (overt proteinuria) as well as psychological (high hostility) risk factors.
38
Dyreson, Mark. "Uncertain Blackness: The Mysterious Case of Joseph Stadler." Journal of Olympic Studies 5, no. 1 (2024): 48–68. http://dx.doi.org/10.5406/26396025.5.1.03.
Full textAbstract:
Abstract Historians have identified George Coleman Poage as the first African American Olympian. Poage won two bronze medals in the hurdles at the 1904 St. Louis Olympics. In that same year, the name of another potential Black Olympian, Joseph Stadler, appeared briefly in a few newspaper stories previewing the games. Stadler clearly competed in St. Louis, winning a silver medal and bronze medal in the now-archaic forms of standing jumps. Whether he should join Poage on the roster of pioneering African American Olympians, however, remains a mystery among Olympic researchers—as does his racial identity. Analyzing the historical record regarding these claims and employing new information from census data and other public records reveals that Stadler was most likely white. His “misidentification,” however, reveals more than just a trivial episode about an inaccurate reading of racial identity from limited sources. The long history of narratives about Joseph Stadler's identity reveals important patterns about the social construction of race, illuminates the complexities of more than a century of seeking to depict the Olympics as a fulcrum of racial progress in American culture, and showcases the dangers of attempting to read “race” from historic photographs.
39
Raub, Patricia. "True to Life: Life Magazine's Coverage of African Americans, 1936–40." Prospects 25 (October 2000): 607–40. http://dx.doi.org/10.1017/s0361233300000788.
Full textAbstract:
Four months after the first issue of Life magazine reached the news-stands a reader commented on Life's portrayal of African Americans:May I take this occasion to express to the editors of Life our appreciation for the magnificent photographs of Negroes, including Marian Anderson, Paul Robeson, flood refugees and others which have appeared in recent issues of Life? This fair pictorial presentation of various aspects of Negro life is of inestimable value in helping to give a more balanced concept of the American Negro, which in turn helps all Americans.We want you to know how much we appreciate what you are doing.
40
Carton, Benedict. "From Hampton “[I]nto the Heart of Africa”: How Faith in God and Folklore Turned Congo Missionary William Sheppard into a Pioneering Ethnologist." History in Africa 36 (2009): 53–86. http://dx.doi.org/10.1353/hia.2010.0005.
Full textAbstract:
The African-American missionary, William Henry Sheppard Jr. (1865-1927), lived in the Kuba kingdom of central Africa at the turn of the twentieth century. A student of Virginia's Hampton (Normal) Institute in the early 1880s, Sheppard left the United States a decade later to preach in the Congo Free State, a colonial territory claimed by Belgian monarch Leopold II. This king's army, the Force Publique, and its local auxiliaries spawned suffering throughout the equatorial region. They pillaged villages in Kasai, the southern Congo area surrounding Sheppard's Presbyterian outposts, killing families and driving survivors into brigades that collected wild rubber for European concessionary companies. This rubber boom, in turn, generated profits that not only enriched Leopold II and his business allies, but also propelled a revolution in transportation that culminated in the mass production of tires for the bicycle and automobile. Sheppard is known for bearing witness to Congo atrocities, but his ground-breaking ethnological research remains unfamiliar to many Africanists. It is fortunate for these scholars that the college that nurtured Sheppard's fascination with folklore, Hampton Institute (now Hampton University), houses his papers, photographs, and artwork. This paper introduces and analyzes these sources.
41
ROSSINI, MICHELE. "Additional mislabeling in African Onthophagus Latreille, 1802 (Coleoptera: Scarabaeidae: Scarabaeinae): the case of Onthophagus viviensis and Onthophagus laevatus." Zootaxa 5032, no. 2 (2021): 262–74. http://dx.doi.org/10.11646/zootaxa.5032.2.7.
Full textAbstract:
The study of the type material of Onthophagus viviensis d’Orbigny, 1905 and Onthophagus laevatus d’Orbigny, 1902 (Coleoptera: Scarabaeidae: Scarabaeinae: Onthophagini) revealed that these two species described from Africa are instead two South American Onthophagus Latreille, 1802. The male of O. viviensis is described for the first time and its systematic position within the O. curvicornis species complex of American Onthophagus is discussed. In addition, Onthophagus laevatus new synonym is established as junior subjective synonym of Onthophagus curvicornis Latreille, 1812. Photographs of the type material examined, pictures of the body and male genitalia of O. viviensis and O. curvicornis, and an updated map of the geographic distribution of these two South American species is provided. A neotype is designated for O. curvicornis and lectotypes are designated for O. laevatus, O. minax Kirsch, 1866 and O. viviensis.
42
Fishman, Ross, Marcio Guelmann, and Enrique Bimstein. "Children's Selection of Posterior Restorative Materials." Journal of Clinical Pediatric Dentistry 31, no. 1 (2007): 1–4. http://dx.doi.org/10.17796/jcpd.31.1.ng7122836mp04vj5.
Full textAbstract:
This study evaluated children's preference for posterior restorations. After viewing photographs of amalgam, composite, colored compomer and stainless steel crowns, 100 children 5-12 years-old responded to a satisfaction survey. The influence of age, gender and ethnicity was assessed and statistically analyzed. Composite resins were preferred the most and amalgam the least. Caucasians mostly selected composites while African Americans stainless steel crowns. Early interest in colored compomers was seen in young, males and Caucasians.
43
Black, Cheryl. "Looking White, Acting Black: Cast(e)ing Fredi Washington." Theatre Survey 45, no. 1 (2004): 19–40. http://dx.doi.org/10.1017/s0040557404000031.
Full textAbstract:
In October 1926 a leading African-American newspaper, the Pittsburgh Courier, featured adjacent photographs of two young women with a provocative caption: “White Actresses Who Open with Robeson and Bledsoe on Broadway during Week.” The actresses featured were Lottice Howell, starring with Jules Bledsoe in the musical play Deep River, and Edith Warren, starring with Paul Robeson in the drama Black Boy. In reporting this latest bit of integrated casting, however, the Courier was wrong on two counts. First, they misidentified the photographs, identifying Howell as Warren and Warren as Howell; and second, they misidentified Warren, whose real name was Fredi Washington, as “white.” Washington (who dropped the stage name during previews) was, by self-identification, Negro, or, in the language of the Savannah official who recorded her birth in 1903, “colored.”
44
Edwards-Ingram, Ywone. "Before 1979." Public Historian 36, no. 1 (2014): 9–35. http://dx.doi.org/10.1525/tph.2014.36.1.9.
Full textAbstract:
Before the living history museum of Colonial Williamsburg started its concerted interpretation of slavery in 1979, the African American coachmen were already representing the past and implicating black history and slavery in this restored eighteenth-century capital of Virginia. Various records of photographs, postcards, letters, newspaper clippings, oral history accounts, visitor observations, and corporate papers provide a window to understand the social climates of the museum’s period in the 1930s to the 1970s. This body of evidence supports the contention that the coachmen were visible and influenced public history within and outside the museum.
45
George, Diana, and Diane Shoos. "Deflecting the Political in the Visual Images of Execution and the Death Penalty Debate." College English 67, no. 6 (2005): 587–609. http://dx.doi.org/10.58680/ce20054091.
Full textAbstract:
Examining a range of visual images of executions, both legal (the executions of convicted murderers) and extralegal (the lynchings of innocent African Americans), in still photographs and in Hollywood films, the authors suggest that while such images may flatten and neutralize the popular debates and politics surrounding the issues, this is not inevitable, and that if we work at sustaining careful attention to its operations the image is neither self-evident nor doomed to obscure the political.
46
Jungová, Gabriela. "Daneš the Collector: Pacific Journeys of J. V. Daneš and his Collection in the Náprstek Museum." Annals of the Náprstek Museum 38, no. 2 (2017): 43–52. http://dx.doi.org/10.1515/anpm-2017-0029.
Full textAbstract:
J. V. Daneš (1880–1928) was not only an outstanding figure of his time in the international scientific community, but also a diplomat and a traveller. Two of his overseas trips led him to Australia and the Pacific region, where he assembled a remarkable collection of ethnographic objects and photographs. This collection, now kept in the National Museum – Náprstek Museum of Asian, African and American Cultures in Prague, has been mostly neglected and unpublished for decades. This paper provides a basis for its further study by introducing Daneš’s journeys around the region and comparing them to the proveniences of the ethnographic objects.
47
Napolin, Julie Beth. "Surface Listening: Free Association and Recitation in the Wooster Group's The B-Side: "Negro Folklore from Texas State Prisons" A Record Album Interpretation." Performance Matters 8, no. 1 (2022): 54–72. http://dx.doi.org/10.7202/1089678ar.
Full textAbstract:
This essay is a critical narrative of an experience of listening to the Wooster Group’s The B-Side: “Negro Folklore from Texas State Prisons” A Record Album Interpretation (2017). The performance is a verbatim recitation of a 1965 ethnographic recording by Bruce Jackson of African American men toasting and singing works songs just before Texas prisons were desegregated. African American actors on stage hear the album through earpieces and re-perform songs and toasts in real time as the LP plays on a turntable visible (but mostly inaudible) to the audience. Their interpretation “transmits” the album to an audience. The essay, continuing that work of transduction, draws from the psychoanalytic notion of “free association” in order to think through the possibilities and limitations of listening across race and gender. It argues that association is a reciprocal way of listening and making theatre. It is also a way of working through history (recorded and unrecorded) in the face of intractable frameworks of racial antagonism in the United States. The essay assembles and “associates” photographs, songs, and excerpts of interviews with the show’s makers, as well as pairing concepts from the literature of listening and the archive of Black sonic performance.
48
Shane, Robert R. "“I longed to cherish mirrored reflections”: Mirroring and Black Female Subjectivity in Carrie Mae Weems's Art against Shame." Hypatia 33, no. 3 (2018): 500–520. http://dx.doi.org/10.1111/hypa.12391.
Full textAbstract:
Through staged photographs in which she herself is often the lead actor or through appropriation of historical photographs, contemporary African American artist Carrie Mae Weems deconstructs the shaming of the black female body in American visual culture and offers counter‐hegemonic images of black female beauty. The mirror has been foundational in Western theories of subjectivity and discussions of beauty. In the artworks I analyze in this article, Weems tactically employs the mirror to engage the topos of shame in order to reject it as a way of seeing the self and to offer a new way of lovingly seeing the self. I use the work of Kelly Oliver, Helen Block Lewis, and bell hooks to articulate the relationships among the mirror, shame, and black female subjectivity in Weems's work. Weems's subjects often reckon with what Oliver calls “social melancholy” as they experience shame while standing before the mirror. However, Weems also shows that by looking again—a critical strategy I explain using Oliver's model of “the loving eye”—her subjects can use the mirror as a corrective to the social shaming gaze and make it a stage for establishing black female subjectivity, a gaze of self‐love, and beauty.
49
Kanicki, Witold. "Blackfaced white: rasowe przypadki negatywu." Artium Quaestiones, no. 28 (May 22, 2018): 111–36. http://dx.doi.org/10.14746/aq.2017.28.5.
Full textAbstract:
In her essay on the involvement of photography in the system of racial division, Tanya Sheehan (“Comical Conflations: Racial Identity and Science of Photography,” Photography & Culture, vol. 4, no. 2, 2011: 133-156) focused her attention on common comparisons of the photographic negative to the Negroid race. Such a tendency may imply a claim that the negative is racist; once connected, just as African Americans, with pejorative features. The negative picture, different from reality as such but above all negating a realistic (positive) tradition in art, because of being different (other) can be considered wrong or inferior to the positive so that it must be hidden or even destroyed. In such a context, the present paper focuses on the relationship between the photographic negative and the question of race. Although apparently the reversal of the color of skin might result in a racial transformation of the photographed whites, the artistic practice of the 20th and 21st centuries demonstrates that quite often the reversed color does not necessarily mean a change of race. What is more, the negative has been used to oppose by artistic means the simplifying polarization of society. Such avant-garde photographers as Hans Bellmer, Man Ray, and Alexandr Rodchenko used the inversion of tone in their works critiquing colonial and racist stereotypes. Contemporary artists use the negative convention to subvert the dominant positive, realism, light, day, the white male, and other concepts associated with one of the poles constituting the binary value system. Painting one’s face black, in the 19th century used in evidently racist performances called “minstrel shows,” may now convey a positive message.
50
GRANTMYRE, LAURA. "Conflicting visions of renewal in Pittsburgh’s Hill District, 1950–1968." Urban History 43, no. 4 (2016): 639. http://dx.doi.org/10.1017/s0963926815000899.
Full textAbstract:
ABSTRACT:Visual representations of the Lower Hill District created by Pittsburgh's redevelopment coalition and by neighbourhood insiders reveal the conflicting ways redevelopers and residents understood older neighbourhoods and their redevelopment. Redevelopers’ maps and photographs of the Lower Hill documented the neighbourhood's densely built-up blocks and intermixture of land uses as definitive examples of blight that threatened downtown's economic health. Models and architectural sketches of the Civic Arena – the jewel of the Lower Hill's redevelopment plan – promised to wipe away blight and renew the city. Redevelopers distributed their imagery through brochures and the city's daily press. Framed by captions labelling the Lower Hill a ‘blight’ and the Civic Arena a ‘wonder of the modern world’, these images helped sell the public on redevelopment. Lower Hill insiders, most notably the city's African American newspaper, the Pittsburgh Courier, and the Courier’s lead photographer, Charles ‘Teenie’ Harris, envisioned the Lower Hill and its redevelopment differently. Harris and the Courier criticized the neighbourhood's dilapidated housing but celebrated its thriving social life. They also supported redevelopment but saw it primarily as a route to new jobs and improved housing for Hill residents. After the Civic Arena opened in 1961, redevelopment failed to deliver more jobs or better housing because redevelopers’ worldview prioritized the built over the social environment. Hill District residents, led by the Courier, reacted to these shortcomings with visual protests pairing redevelopers’ favourite symbol of progress – the brand new Civic Arena – with symbols of racial injustice. By spotlighting the inequalities that undergirded redevelopers’ vision for the city, these protests stopped redevelopment from spreading further into the Hill in 1968.