Academic literature on the topic 'Artists' writings, American'
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Journal articles on the topic "Artists' writings, American"
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Frelik, Edyta. "What Scene, What’s Seen, What’s in A… Word: Thoughts in and on Artists’ Writings." Discourses on Culture 19, no. 1 (June 1, 2023): 65–85. http://dx.doi.org/10.2478/doc-2023-0003.
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Abstract While the humanities have become a multimodal domain in which visual culture is immanent and various new cross-disciplinary perspectives and theories are being employed to investigate the relationship between artistic and literary forms of representation, artists’ writings remain understudied and underappreciated. Art/literature studies often proceed by pairing a specific work of art with a particular literary text or an aesthetic style with a poetics or a narrative technique, but they rarely consider situations when both elements of the chosen pair come from the same source — an artist-writer. But questions related to whether and how an artist’s ‘natural’ visual disposition may impact on how she/he approaches and handles verbal language and vice versa need to be asked to illuminate what is still a shadow zone in word and image studies. Citing examples of major representatives of American modernism in art and literature, the essay addresses some of the problematic issues involved in studying verbal expression by visual artists and the cogency of posited correlations between the painterly and writerly intuitions and competences at play in artworks and texts produced by artist-writers.
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Berehovska, Khrystyna, Yuliya Babunych, Ivanna Pavelchuk, Tetiana Pavlova, and Andrii Korniev. "Evolution of S. Hordynsky's views on art practice and theory in the late XX century." Salud, Ciencia y Tecnología - Serie de Conferencias 3 (June 28, 2024): 1010. http://dx.doi.org/10.56294/sctconf20241010.
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The purpose of this study is to analyze and elucidate the development, contradictions, and influences of Ukrainian artists in America, focusing on the theoretical and practical contributions of Sviatoslav Hordynsky to both American and Ukrainian art traditions. The methodology employed includes a comprehensive historical analysis of archival materials, a comparative analysis of Ukrainian and American artworks, a thematic analysis of recurring motifs in Hordynsky's writings and works, and an interpretative analysis of critical reviews and scholarly articles on Ukrainian artists in America. The main findings reveal how Ukrainian artists integrated into and influenced the American art scene, adapting their styles while maintaining their cultural identity. The study highlights Hordynsky's role in bridging Ukrainian and American art traditions, showcasing his contributions to the development of a unique Ukrainian-American artistic identity. Furthermore, it uncovers the intellectual and artistic currents that shaped the creative processes of Ukrainian artists in America, emphasizing the significance of national identity and cultural integration. In conclusion, this research provides a nuanced understanding of the complex interactions between Ukrainian and American art traditions in the second half of the twentieth century, underlining the pivotal role of Hordynsky in this cultural exchange. The study contributes to the broader discourse on the evolution of art in diasporic contexts and the preservation of cultural heritage amidst dynamic socio-political landscapes.
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NEW, MELVYN. "John Baldessari and Laurence Sterne." Shandean 31, no. 1 (November 2020): 29–42. http://dx.doi.org/10.3828/shandean.2020.31.06.
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The death of John Baldessari in January 2020, the foremost twentieth-century American artist to illustrate Sterne’s writings, prompts a reexamination of his work and that of several other modern visual artists and their encounters with Sterne, notably Martin Rowson and Michael Winterbottom, along with comments on the most recent illustrator, Tom Phillips, for the new Folio Society edition of Tristram Shandy.
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Behrens, Roy R. "Revisiting Abbott Thayer: non-scientific reflections about camouflage in art, war and zoology." Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1516 (November 10, 2008): 497–501. http://dx.doi.org/10.1098/rstb.2008.0250.
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This paper reviews the achievements of Abbott Handerson Thayer (1849–1921), an American painter and naturalist whose pioneering writings on animal camouflage addressed shared concerns among artists, zoologists and military tacticians. It discusses his beliefs about camouflage (both natural and military) in the context of his training as an artist, with particular emphasis on three of his major ideas: countershading, ruptive (or disruptive) coloration and background picturing.
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Williams-Hogan, Jane. "Influence of Emanuel Swedenborg’s Religious Writings on Three Visual Artists." Nova Religio 19, no. 4 (May 1, 2016): 119–44. http://dx.doi.org/10.1525/nr.2016.19.4.119.
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Emanuel Swedenborg (1688–1772) claimed to be an eyewitness to the Apocalypse. Called to be “Servant of the Lord,” he wrote eighteen works in which he defined a new Christianity. While he never formed a church, he distributed his books widely throughout Europe. They stimulated some people to found new religious organizations, some to write in new poetic and literary forms, and others to revolutionize sculpture and painting. These artists found in Swedenborg’s works a vibrant source of a new aesthetic vision. The elements of Swedenborg’s theology that helped to shape that new aesthetic are presented here, as well as the application of different aspects of it in the works of three artists: the English sculptor John Flaxman (1755–1826); the French Symbolist painter Paul Gauguin (1848–1903); and American sculptor Lee Bontecou (b. 1931). Each artist attempts to capture the spiritual reality that Swedenborg portrayed as existing behind and within the natural phenomenal world.
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Zdebik, Jakub. "Strata and Sediment under the Fog: Geological Landscapes in Smithson and Ewen." Brock Review 11, no. 2 (February 10, 2011): 5–18. http://dx.doi.org/10.26522/br.v11i2.316.
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Strata and Sediment under the Fog focuses on geological landscapes and how they are a stand-in for the mind’s landscape. This article looks at how American artist Robert Smithson describes the mind through geological landscapes in his writings and how Canadian artist Paterson Ewen diagrammatically represents the organization of rocks. The work of these two artists is considered according to the philosophies of Gilles Deleuze and Immanuel Kant—two philosophers who rely on geological and geographical models and metaphors to communicate the function of thought.
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Mithlo, Nancy Marie. "Decentering Durham." American Indian Culture and Research Journal 43, no. 4 (October 1, 2019): 25–28. http://dx.doi.org/10.17953/aicrj.43.4.2017.
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This section of the AICRJ special issue on fraud looks back to a 2017 group conversation (first published in First American Art Magazine no. 19 (Fall 2017): 84–89) as four Native American scholars and artists respond to the then-traveling retrospective exhibit Jimmie Durham: At the Center of the World in light of Durham’s long-standing claims to Cherokee identity. In “Decentering Durham,” Chiricahua Apache scholar Nancy Marie Mithlo argues that, “Cultural institutions continue to accept his platform, and, in doing so … deny Indigenous cultural sovereignty to name our own members and leaders.” Roy Boney Jr., a Cherokee artist, discusses Durham’s appropriation of the writings of historic statesman Zeke Proctor in “Not Jimmie Durham’s Cherokee.” In a “Walk-through at the Hammer,” Luiseño-Diegueño performance and installation artist James Luna (1950–2018) muses on the aesthetics of Durham’s work and the value of community belonging. Summarizing the 2017 perspective in “A Chapter Closed?,” artist and editor America Meredith (Cherokee Nation) hopes that, “after a multigenerational, multi-tribal effort … art historians and curators will cease … positioning [Durham] as our representative in academic literature.”
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Dworkin, Ira. "Radwa Ashour, African American Criticism, and the Production of Modern Arabic Literature." Cambridge Journal of Postcolonial Literary Inquiry 5, no. 1 (January 2018): 1–19. http://dx.doi.org/10.1017/pli.2017.44.
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In 1973, at the suggestion of her mentor Shirley Graham Du Bois, the Egyptian scholar, activist, teacher, and novelist Radwa Ashour enrolled at the University of Massachusetts, Amherst, to study African American literature and culture. Ashour’s 1975 dissertation “The Search for a Black Poetics: A Study of Afro-American Critical Writings,” along with her 1983 autobiography,Al-Rihla: Ayyam taliba misriyya fi amrika[The Journey: An Egyptian Woman Student’s Memoirs in America], specifically engage with debates that emerged at the First International Congress of Negro Writers and Artists in September 1956 between African Americans and others from the African diaspora (most notably Aimé Césaire) regarding the applicability of the “colonial thesis” to the United States. This article argues that Ashour’s early engagement with African American cultural politics are formative of her fiction, particularly her 1991 novel,Siraaj: An Arab Tale,which examines overlapping questions of slavery, empire, and colonialism in the Arab world.
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Kirwin, Liza. "Fabulous at 50: the Smithsonian’s Archives of American Art celebrates a Golden Anniversary." Art Libraries Journal 31, no. 1 (2006): 28–32. http://dx.doi.org/10.1017/s0307472200014358.
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Founded in 1954, the Smithsonian’s Archives of American Art collects, preserves and makes available primary sources documenting the history of the visual arts in the United States. More than 16 million items strong, its collections comprise the world’s largest single source for letters, diaries, financial records, unpublished writings, sketchbooks, scrapbooks and photographs created by artists, critics, collectors, art dealers and art societies – the raw material for scholarship in American art.
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Otdelnova, V. A. "SOVIET ART OF THE SECOND HALF OF THE 20TH CENTURY AS PART OF THE WORLD ART PROCESS: METHODOLOGICAL APPROACHES AND PERSPECTIVES FOR FUTHER STUDIES." Вестник Пермского университета. История, no. 2 (2022): 55–71. http://dx.doi.org/10.17072/2219-3111-2022-2-55-71.
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The article examines writings on the history of art, in which artworks by Soviet artists are described not as a local phenomenon but in a global cultural context. These writings are combined into four blocks. The first block – “Socialist Internationalism” – explores papers by Soviet art historians written in the 1950s and 1960s and developed a conception of world “progressive art.” The second block – “Soviet Non-official art and Western art critic” – starts with analyzing the texts created in the 1970s – 1990s by European, American, and Soviet – émigré authors and ends with the writings by Russian curators of the 2000s. All the articles from this block represent a common idea of the universality of Western modernist and postmodern art theory. Thus, these authors selected only those artworks which could be described within this theory. In the context of contemporary European and American art trends, Soviet non-official art looks like a peripheral phenomenon. The third block – “Cold War and Global History of Art” – investigates the texts and exhibitions made during the last two decades and influenced by the ideas of global turn and critical research of the Cold War cultural policy. It is shown how art historians seek to develop new approaches and universal criteria to describe the 20th century world art. The last block – “Critical geography” – talks about the theoretical approach elaborated by Piotr Piotrowski. Within the framework of critical geography, the phenomena that have long been considered marginal come to the fore. Attention is paid to the international contacts of artists. The boundaries of art centers are shown to be different from the borders of states. Thus, the art of the Soviet artists is represented as part of the new geographic conglomerations.
Dissertations / Theses on the topic "Artists' writings, American"
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Martin, Timothy Daniel. "Robert Smithson : writings, sculptures, earthworks." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324920.
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Douglass-Chin, Richard J. "Where the spirit leads me : the autobiographical holy foremothers of contemporary African American women's writing /." *McMaster only, 1998.
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Herrmann, Laura Renee. "African Costume for Artists: The Woodcuts in Book X of Habiti antichi et moderni di tutto il mondo, 1598." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000573.
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Ramsey, Colin Tucker. "The labor of writing : the literary cultures of the artisan class and the "lower sorts" during the era of the American revolution /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3052239.
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Merchan, Sierra Monica. "Nymphes exotiques, indigènes victimes ou créatures vulgaires. Images des femmes grande-colombiennes d'après les voyageurs du XIXe siècle." Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0752/document.
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Mon travail de recherche se propose de combler des lacunes concernant l’iconogaphie des femmes sud-américaines. Etant donné l’absence d’écoles d’art ainsi que d’ateliers d’impression en Grande Colombie jusqu’à la première moitié du XIXe siècle, les images en général sont rares. Quand on en trouve, il s’agit des portraits de quelques femmes extraordinaires comme des saintes ou des épouses des hauts fonctionnaires, donc des représentantes d’une minorité aisée et créole. Les artistes locaux ont surtout peint les grands hommes et notamment les héros des jeunes Républiques. En revanche, sur la vie quotidienne de la plupart des femmes, qu’elles soient Indiennes, Métisses, Noires ou même Créoles, nous n’avons que très peu de témoignages. La Grande Colombie comme la Nouvelle Grenade, par ailleurs, souffrait d’un manque d’attrait. Cette région n’a jamais représentée dans l’imaginaire des voyageurs européens, les richesses légendaires des vice-royautés du Pérou ou de la Nouvelle Espagne (Mexique). C’est seulement à l’orée du XIXe siècle que cette zone équatoriale commence à faire parler d’elle et ce changement significatif est dû au grand voyage scientifique de Humboldt et Bonpland. Grâce à la médiatisation de ces explorateurs, un nombre important de voyageurs français décide de suivre leurs pas. Parmi eux, un petit nombre écrit et publie des récits illustrés. Leurs gravures et lithographies apportent donc les documents nécessaires pour combler en partie le vide pictural féminin. Ces images n’ont jusque là pas suscitées d’études historiques approfondies d’autant qu’elles ont longtemps été considérées comme des simples ornements accompagnant le texte. Cette thèse propose de démontrer, au contraire, le rôle primordial de cette iconographie, sa puissance symbolique et sa contribution au discours qui caractérise alors la littérature de voyage. Qu’elles soient guidées par des observations concrètes ou par la pure imagination, ces descriptions picturales et littéraires permettent de dégager les principaux stéréotypes élaborés sur les femmes grande-colombiennes et ce malgré leur riche multiplicitéThe aim of this thesis is to fill in certain gaps in the iconographic treatment of South American women. Due to the lack of art schools and printing workshops in Gran Colombia through the first half of the nineteenth century, images in general are rare. The existing works are portraits of such extraordinary women as saints or wives of important officials, thus representatives of a wealthy Creole minority. Local artists tended to choose as subjects prominent men, notably the heroes of the young Republics. By contrast, the daily lives of most women, whether Indian, Métis, Black or even Creole, were rarely featured. In addition, like New Granada, Gran Colombia suffered from a relative lack of attractiveness. In the imagination of European travelers this region never represented the legendary wealth of Viceroyalties like Peru or New Spain (Mexico). It was only at the dawn of the nineteenth century that this equatorial zone attracted significant interest due in large part to the great scientific exploration of Humboldt and Bonpland. Thanks to their many publications, a large number of French travelers decided to follow their footsteps. Among them, a small group wrote and published illustrated volumes. Their engravings and lithographs provide the material needed to restore at least partially the lack of female images. To this point such iconography has not generated in-depth historical study, since it has long been considered merely ornamental and secondary to the text. This thesis proposes to demonstrate the contrary by focusing upon the sizeable role of this iconography, its symbolic power and its contribution to the discourse then characteristic of travel literature. Based upon specific observations or drawn purely from imagination, these pictorial and literary descriptions enable the identification of the principal stereotypes developed to characterize Gran Colombian women, despite the fact of their rich cultural multiplicity
La presente tesis busca llenar algunos vacíos existentes en los estudios sobre la representación iconográfica de las mujeres suramericanas. Debido a la ausencia de escuelas de Bellas Artes y talleres de impresión en la Gran Colombia hasta mediados del siglo XIX, la producción general de imágenes era escasa. Los artistas locales apostaban por retratar a hombres influyentes, particularmente los héroes de la naciente República, y las pocas obras sobre mujeres que se realizaban correspondían a santas o esposas de los altos funcionarios, representantes de la opulenta minoría criolla. Son entonces pocos los testimonios iconográficos que se conservan de la vida cotidiana de la mayoría de las mujeres de origen amerindio, mestizo, negro e incluso criollo. La Gran Colombia sufría además de la misma falta de atracción que aisló durante siglos a la Nueva Granada: en el imaginario de los viajeros europeos, la región no se comparaba con la legendaria riqueza de los virreinatos de Perú y Nueva España. Sólo hasta principios del siglo XIX, la América equinoccial se convirtió en un centro de interés tras las expediciones científicas de Humboldt y Bonpland. Gracias a sus múltiples publicaciones, varios viajeros franceses decidieron seguir sus pasos, publicando, además, sus relatos de viaje ilustrados con grabados y litografías. Unos trabajos que proveen el material necesario para suplir, al menos parcialmente, la ausencia de imágenes femeninas en la Gran Colombia. Hasta la fecha, esta iconografía no ha generado estudios históricos específicos pues ha sido considerada siempre ornamental y secundaria frente al texto de los relatos. El objetivo de este estudio es entonces demostrar lo contrario, revelando su papel protagónico, su poder simbólico y su influencia en el discurso literario característico de los relatos de viajeros. Por tanto, ya sean inspiradas por la imaginación o guiadas por la observación empírica, las descripciones pictóricas y literarias de estos relatos permiten la identificación de los principales estereotipos elaborados sobre las mujeres grancolombianas a pesar de su heterogeneidad cultural
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Roberts, Brian Russell. "Artistic ambassadors and African American writing at the nation's edge, 1893-1940 /." 2008. http://wwwlib.umi.com/dissertations/fullcit/3322496.
Full textBooks on the topic "Artists' writings, American"
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David, Levithan, ed. Best Young Writers And Artists In America. New York: Scholastic, 2002.
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Chiu, A'misa. Mirror: Writings & Drawings. [Torrance, CA?]: Eyeball Burp Press, 2012.
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W, Lee Anthony. Yun Gee: Poetry, writings, art, memories. Seattle: Pasadena Museum of California Art in association with University of Washington Press, 2003.
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1953-, Wallis Brian, ed. Blasted allegories: An anthology of writings by contemporary artists. New York: New Museum of Contemporary Art, 1989.
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Dolores, Costa María, ed. Latina lesbian writers and artists. Binghamton, NY: Harrington Park Press, 2003.
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David, Levithan, ed. Where we are, what we see: The best young writers and artists in America. New York: Push, 2005.
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1946-, Cook Jim, ed. Common voices, other lives: An anthology of gay and lesbian writings and art from Santa Barbara and Ventura counties. Santa Barbara: Gay & Lesbian Resource Center of Santa Barbara in association with Fithian Press, 1994.
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Blunk, Tim. The risks worth taking: Art and writings. Teaneck, N.J: Puffin Foundation Ltd., 1997.
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1953-, Cooper Dennis, Hawkins Richard, Blake Nayland 1960-, and Los Angeles Contemporary Exhibitions (Gallery), eds. Against nature: A group show of work by homosexual men : January 6 through February 12, 1988. Los Angeles, CA: LACE, 1988.
Find full textBook chapters on the topic "Artists' writings, American"
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Franco Harnache, Andrés. "“Mostrar, no decir”: The Influence of and Resistance Against Workshop Poetics on the Hispanic Literary Field." In New Directions in Book History, 325–44. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53614-5_14.
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AbstractUntil recently, due to the Romantic imaginary of the artist-as-genius, the Hispanic literary tradition has been wary of a literary advice industry or academic programs of creative writing. This wariness hindered the professionalization of Hispanic authors, but at the same time it kept Hispanic literature out of anglicized uniformity which permitted, by the mid-twentieth century, a reinterpretation of western literature by writers such as Gabriel García Márquez, Jorge Luis Borges, and Mario Vargas Llosa. Nonetheless since the early 2000s a series of MFA programs in creative writing, first in the United States, but more recently in Latin America and Spain, have been changing Hispanic literature. These programs, with syllabi imported from the Anglophone canons, have influenced a new generation of writers who mirror the English savoir-faire and reject their own literary traditions, which were more experimental, less rooted in realism, and even somewhat baroque. There is, however, also resistance in the field, where workshop-inspired developments coincide with a return to a more Hispanic tradition of innovation.
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"Audubon and Catlin: Artists of the American Wilderness." In American Travellers in Liverpool, edited by David Seed, 64–81. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622041.003.0003.
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This chapter considers the writings of two specific visitors to Liverpool. The naturalist John James Audubon, famous for his Birds of America, recorded impressions gathered during his residence here. Secondly the showman George Catlin mounted a number of exhibitions in the city, including glimpses of Native American life. The latter was one of the earliest examples of celebrity culture in visitors to the city.
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Marcus, Laura. "The American Rhythm." In Rhythmical Subjects, 256–308. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192883889.003.0006.
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Abstract In writings about rhythm in the United States in the early decades of the twentieth century, rhythm is explicitly racialized. White writers and artists, notably Mary Austin, were fascinated by what they identified as the ‘indigenous, primordial rhythm of the land’, especially in the Southwest regions, a primal source of power to which they considered Native American people to have a special and defining connection. They felt that in the earthy, slow rhythm there was potential for a kind of national renewal, ridding American culture of the degeneracy of an overly sophisticated, artificial, or ‘nervous’ metropolitan culture. In Taos, New Mexico, Mabel Dodge Luhan’s artists’ colony hosted some of the most important modernist artists of twentieth-century America, including Georgia O’Keeffe, Ansel Adams, Marsden Hartley, and D. H. Lawrence.
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Tarbell, Roberta K. "Whitman and the Visual Arts." In A Historical Guide to Walt Whitman, 153–204. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195120813.003.0006.
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Abstract Walt Whitman and his writings were shaped by the architecture, art, and artists of his time. Some of the most exciting insights into Whitman have arisen from recent analyses his connectedness to international perspectives in the fine arts. During the 1990s, scholars have discerned and published far more about the interrelationships between Whitman and the visual arts than they had in the first hundred years after his death. During his years as a journalist in New York City, Whitman was directly involved in the arts: he attended countless operatic, the atrical, and musical performances, frequented art galleries, befriended many artists, understood the global perspectives they represented, and critiqued them in his newspaper columns. During those years, Whitman was immersed in the form and content of colloquialisms, popular fiction, and mass media used in the service of democracy. During his late years, artists came to Camden, New Jersey, to pay homage to the aging bard and often returned to create a portrait of him. Whitman’s writings continue to authenticate creative urges upwelling in writers and artists and to give them courage to break free from whatever fetters bind their originality. His faith in America and American art is as important today as when he first expressed it.
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Carrabine, Eamonn. "After the Fact." In Ghost Criminology, edited by Michael Fiddler, Theo Kindynis, and Travis Linnemann, 35–66. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479885725.003.0002.
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Edgar Allan Poe is one of the most celebrated of the early American Gothic writers, haunting not only modern art but also continental philosophy. Lacan’s seminar on Poe’s short story “The Purloined Letter” opened up a radically new conception of psychoanalysis (by highlighting the dynamic of mis-seeing in the tale, thus offering an instance of how the gaze operates), which in turn provoked Derrida’s critical deconstruction of Lacan’s reading of the text. It is no accident that their dispute revolves around a crime story (a robbery and its undoing), and in all three pieces it is the very act of analysis that occupies center stage. What is striking, and one of the points of departure for this chapter, “is the connection between Poe’s writings and those kinds of art which, since the 1960s, have adopted site, architecture and interior as their media” where his “obsession with interiors and their destruction—the Gothic core of his writing—is a constant, unspoken presence in this art” (Jones, 2000/2007:209). Drawing on these artists and theorists, the chapter will bring into focus the question of time (as foregrounded in Derrida’s concept of hauntology) so as to explore the idea of spectral evidence.
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Wilson, Sondra Kathryn. "Race Prejudice and the Negro Artist." In The Selected Writings of James Weldon Johnson, 397–407. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195076455.003.0036.
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Abstract What Americans call the Negro problem is almost as old as America itself. For three centuries the Negro in this country has been tagged with an interrogation point; the question propounded, however, has not always been the same. Indeed, the question has run all the way from whether or not the Negro was a human being, down-or up-to whether or not the Negro shall be accorded full and unlimited American citizenship. Therefore, the Negro problem is not a problem in the sense of being a fixed proposition involving certain invariable factors and waiting to be worked out according to certain defined rules. It is not a static condition; rather, it is and always has been a series of shifting interracial situations, never precisely the same in any two generations. As these situations have shifted, the methods and manners of dealing with them have constantly changed. And never has there been such a swift and vital shift as the one which is taking place at the present moment; and never was there a more revolutionary change in attitudes than the one which is now going on.
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Greene, Kevin D. "We Love the Blues, but Tell Us about Jazz." In The Invention and Reinvention of Big Bill Broonzy, 115–30. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646497.003.0007.
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Beginning in 1950, Broonzy would tour Europe and the United Kingdom for much of the 1950s while new generations in Britatin, Holland, France, Belgium, and more began discovering and rediscovering African American music from the pre-war period. Big Bill became one of the first African American blues artists to tour there, quickly becoming a fan favorite, especially in England. A subculture of continental Europeans from the period developed a lively community of jazz enthusiasts whose record collections and academic writings connected these post-war devotees across borders and languages. Central to their fascinations and curiosities was the juxtaposition between Bebop and traditional, New Orleans jazz. Many traditionalists loathed Bebop and through Big Bill, discovered the blues impact on but delineation from the music they loved so much. In the UK, the folk music revival spread, thanks in large part to Alan Lomax, and Lomax, by this point a good friend, found in Big Bill a treasure who could highlight his and the revival’s pretensions on black blues. In effect, Broonzy began navigating these audiences, essentially reinvigorating his career and building celebrity across the Atlantic.
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Rusert, Britt. "Conclusion." In Fugitive Science. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479885688.003.0007.
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The conclusion reviews the various ways that African American writers, artists, and performers responded to racial science in the age of comparative anatomy, from critiquing and deconstructing it, to parodying it and even, at times, flirting with it. Next, it turns to a genealogy of black craniology evident not only in the writings of James McCune Smith but also in anthropology work by Zora Neale Hurston to consider fugitive science’s postbellum migration from the natural sciences to the social sciences, as theories of race became increasingly tied to theories of culture rather than biology. The conclusion uses Ann Petry’s 1947 short story, “The Bones of Louella Brown,” to map the shifting relationship between black science and black literature at midcentury, a period that was witnessing the professionalization of both science and literary authorship. Finally, it turns to science in the age of neoliberalism and globalization to think about fugitive science as a model of resistance to contemporary forms of racial science, especially in genomics.
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"Crystal Wilkinson." In Writing Appalachia, edited by Katherine Ledford and Theresa Lloyd, 539–47. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178790.003.0083.
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Reared by her grandparents on their farm in the Indian Creek community of Casey County, Kentucky, Crystal Wilkinson writes fiction, poetry, and essays about the rural and small-town experiences of African Americans in the late twentieth and early twenty-first centuries. Wilkinson’s exploration of this overlooked element of the contemporary African American experience places her in a group of Kentucky artists associated with the Affrilachian Poets, of which Wilkinson was a founding member. Inspired by poet Frank X Walker’s concept of “Affrilachia,” an acknowledgment of the African American presence in and influence on Appalachia, Wilkinson and her colleagues have explored African American connections to rural and small-town places, families, and communities. Wilkinson’s work includes two volumes of short stories—...
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Ehlers, Sarah. "Lyric Internationalism." In Left of Poetry, 143–78. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0007.
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This chapter considers Haitian communist poet Jacques Roumain and his reception in the United States. Analyzing the production, circulation, and reception of Roumain’s writings and his authorial persona, the chapter explores several connected variants of a communist internationalism that is imagined through the idea of “lyric,” or “lyricism,” and it demonstrates how such international imaginaries are tied to different conceptions of history. The chapter begins by sketching the import of Roumain as a figure for U.S. radicals. It then turns to Roumain’s friendship with Langston Hughes, showing how the exchange of poems between the two allows critics to move beyond straightforward historical accounts that show how radical African American artists and intellectuals referred to Haiti’s revolutionary past in their protests against Jim Crow policies, colonial occupations, and the rise of fascism in Europe. I argue that Roumain and Hughes harness and experiment with the unique temporality of the poetic lyric in order to present black radicalism as a formation unbounded by spatial and temporal borders. The final sections turn to the prose and poetry Roumain composed during his exile in the United States, using it to rearticulate ideas about the relationship of the poetic lyric to historical praxis.
Conference papers on the topic "Artists' writings, American"
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Nascimento, Suely. "Marlene's house." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.106.
Full textAbstract:
As an artist-researcher, I have been developing the research “Marlene's house” in the Doctorate in Arts, Graduate Program in Arts, Institute of Art Sciences, Federal University of Pará, since 2018. An extension of the research I produced in the Master's Degree in Arts, at the same institution of higher education, from 2016 to 2018. It is a poetics built from family and affective memory, in which photography, video, sound, writing, smell, taste, touch and feeling merge. And it is part of research line 1, on poetics and acting processes, dedicated to research in the arts, with a focus on poetics, on modes of acting, on the construction and presentation of an artistic work, accompanied by a reflective text. Thus, the research is being built with a memorial that houses the reflective text and a work, consisting of an installation with photography-video-sound-writing, records of my mother's house. Along the way, I talk to researcher Priscila Arantes, from São Paulo, who writes: “expanded field photography incorporates [...] the idea of dialogue, contamination and intersections of the field of photography with other fields of language and know." I also talk to the American Rosalind Krauss, who studies three-dimensional work and its expanded field. As a personal methodology, I mentally create a garden mixed with my memories of the garden of the house where I lived, where I develop the installation and the memorial. A meditation in which there is the action of artistic making. And it is in this garden that I experiment, read, research, edit photography-video-sound-written, reflect on my life path and what touches me throughout it, and write the research texts. During classes, in practical-reflective studies, I have been building my poetics, experimenting with installations in the classroom. One of them related to the kitchen of the house where I lived. I tried, in two subjects, the coffee experience with classmates. A performance I talk to Renato Cohen about, when he says that this creative act touches the tenuous boundaries that separate life and art. Each layer of the installation is perceived in the creative process of the artwork. And, based on what I perceive in my poetics, I develop conversations with the history of art, and I have conceived texts, which I named the artist's writings. With the letters, words, sentences and reflections, I write down what I thought/think about geometry, dimensions, space, the room in the house and sharing around a dining table. The poetic layers built in the creative path are countless and, in the installation, I present traces that are in me, in the garden, in the bedroom, in the kitchen and in the backyard where I lived a life in my mother's house.
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Franco, Jorge. "A Decolonized Mood of Creating a Three-dimensional Digital Space Based on Integrating Transdisciplinary Knowledge." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.66.
Full textAbstract:
This experimental artwork has attempted to produce a decolonized mood of researching and creating Three-dimensional (3D) Virtual Reality (VR) digital spaces based on using and integrating transdisciplinary knowledge. These research and creative 3DVR digital spaces processes have been connected with applying the concept of Digital Transformation (DX) within Educative Computational Practice (ECP) proceedings, addressing the idea of empowering people. The mentioned ECP proceedings have occurred through designing and carrying out 3DVR digital spaces by using 3D computer graphics programming techniques, bringing about individuals’ developing digital and visual communication skills with support of employing Web3D-based technologies, such as the Extensible 3D (X3D) language and the X3Dom framework, as Open Educational Resources (OER). Low cost and accessible Web3D technologies have allowed practicing, analyzing and extending our open-ended long-term investigation at K-12 education levels referent to sharing 3DVR and computer graphics programming knowledge, aiming to inspire individuals’ engagement in computing practices encompassing coding and visual literacy skills. These educational processes have also been sustained by art and its learning and expressing opportunities in the digital age. With support of Web3D technologies and lifelong learning and teaching experiences, we have taken part of a course called “Projeto Espetáculo em Realidade Aumentada”, at Fabrica de Cultura Diadema. Through this course, there has been designed and implemented a 3DVR artwork which has extended our research and digital knowledge acquisition processes through producing a decolonized content by interconnecting conceptual knowledge referent to the visual artwork of Rubem Valentim’s mix of Afro-Brazilian, Amerindian and European cultures and Jacob Lawrence’s Afro-American culture symbolic representation. Both artists have trajectories of lifelong learning and using geometry and colorful forms in their artwork composition. Their artwork has expressed knowledge related to Afro-Brazilian and Afro-American cultures, contributing to reduce a gap, at official education, in the teaching of black culture contributions to the worlds of arts, sciences and technology. Interacting with these artists’ trajectories and artworks has lead to research, apply and share knowledge related to ancient Africa, having as reference the Egyptian civilization use of mathematics, geometry (at some extent sacred geometry) shapes and colors knowledge for building and decorating pyramids and other monuments. Such transdisciplinary knowledge confluence has made part of researching and forming the bases of computer graphics libraries and techniques in databases, allowing through educative 3D computer programming practices, to integrate in this 3DVR artwork features referent to digital sculpture, installation and net art, be it within a standalone way and/or through a blog based interface online. This knowledge confluence has brought about using 3D computer graphics programming proceedings for building and visualizing symbolic representation of Afro-Brazilian, European and Amerindian Enchanted Beings’ sacred adornments and instruments. It includes, based on the artwork another Brazilian educator and artist, Abdias do Nascimento, learning to research and utilize knowledge from people of the West Africa related to a writing system, the Adinkra, which is a group of symbols that express and represent ideas in proverbs. In addition, this artwork participatory development has stimulated individuals enhancing cognitive and technical skills, including their complex and spatial thinking abilities.
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Dos Reis, Jorge. "Computer mimetics in visible performance: the late work of the Portuguese experimental poet Ernesto Melo e Castro." In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004219.
Full textAbstract:
Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.