Relevant bibliographies by topics / Mississippi Artist

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Academic literature on the topic 'Mississippi Artist'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2025

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Journal articles on the topic "Mississippi Artist"

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Sommerfeld, Beate. "Journey Begins in One’s Own Room – Imaginary Topographies in Oswald Egger’s Artist Book "Either I only dreamed the trip on the Mississippi or I’m dreaming now"." Lublin Studies in Modern Languages and Literature 48, no. 1 (2024): 121–32. http://dx.doi.org/10.17951/lsmll.2024.48.1.121-132.

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The article attempts to read Oswald Egger’s prose text: „Either I only dreamed the trip on the Mississippi or I’m dreaming now” (2021) as travel literature. Egger’s artist book, which relates an imaginary trip to the Mississippi in text and image, is not a travelogue in the traditional sense, but a highly complex and auto-referential work that plays with the transgression between the real and the imaginary. Using Egger as an example, the article discusses the hermeneutic movements of travel and writing and the media transformation of real and fictional journeys, exploring both the mobility pat
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Furniss, Gillian J. "Tapping Into Lived Experiences, Creative Practices, and Local Resources With Mississippi Artist Eudora Welty." Art Education 72, no. 3 (2019): 45–49. http://dx.doi.org/10.1080/00043125.2019.1578020.

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Strait, John Byron. "The Voice of the Southern Diaspora: Muddy Waters and the Multi-Layered Influences Associated with the Diffusion of Blues Culture." International Social Sciences Review 2 (June 25, 2020): 39–52. http://dx.doi.org/10.37467/gka-socialrev.v2.2330.

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This paper focuses on the dynamic nature of the Southern Diaspora, the twentieth-century mass migration of African-Americans in United States from the rural south to the urban north and west. The significant migratory links between the Mississippi Delta and Chicago, Illinois, and the influences it had on the larger diaspora, are emphasized. The music of famed blues artist Muddy Waters is used as a lens to demonstrate both the causes and the significant impacts of this diaspora. By exploring the multi-layered circuitry of change associated with the evolution and diffusion of Delta blues music,
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Strait, John Byron. "The Voice of the Southern Diaspora: Muddy Waters and the Multi-Layered Influences Associated with the Diffusion of Blues Culture." SOCIAL Review. International Social Sciences Review / Revista Internacional de Ciencias Sociales 9, no. 2 (2020): 133–46. http://dx.doi.org/10.37467/gka-revsocial.v9.2616.

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This paper focuses on the dynamic nature of the Southern Diaspora, the twentieth-century mass migration of African-Americans in the United States from the rural south to the urban north and west. The significant migratory links between the Mississippi Delta and Chicago, Illinois, and the influences it had on the larger diaspora are emphasized. The music of famed blues artist Muddy Waters is used as a lens to demonstrate both the causes and the significant impacts of this diaspora. By exploring the multi-layered circuitry of change associated with the evolution and diffusion of Delta blues musi
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Young, Allison K. "Renee Royale's Landscapes of Matter." liquid blackness 8, no. 2 (2024): 68–91. https://doi.org/10.1215/26923874-11270429.

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Abstract In 2021, New Orleans–based artist Renee Royale sojourned to Venice, Louisiana—the terminus of walkable land (referred to locally as “the End of the World”) where the Mississippi River meets the Gulf of Mexico. Surrounded by marshes, human-made canals, and sprawling petrochemical campuses, Royale documented defunct buildings, polluted coasts, and barren trees with a Polaroid camera while collecting water, soil, and flora from each photographed site. The Polaroids were later submerged in jars containing this ecological debris, causing the images to peel, bubble, discolor, and decay. For
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Norwood, Bryan E. "The Southern Picturesque: Visions of the New and Old South in the Lower Mississippi River Valley." Journal of the Society of Architectural Historians 82, no. 1 (2023): 23–45. http://dx.doi.org/10.1525/jsah.2023.82.1.23.

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Abstract This essay examines the southern picturesque, an architectural vision of the Old South formulated in the 1910s through 1930s in the Lower Mississippi River valley. This vision offered an oblique approach to the plantation big house that evoked a mythical antebellum past, presenting this fulcrum of chattel slavery and resource extraction as an image of leisurely natural order where climate assumed primary importance in the shaping of architectural form. Drawings and texts composed by architect and Tulane University professor Nathaniel Curtis, architect-artist William Spratling, and wri
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Huckaby, Letitia, and Jessica Lynne. "Memorable Proof." Southern Cultures 30, no. 2 (2024): 44–55. http://dx.doi.org/10.1353/scu.2024.a934713.

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Abstract: Jessica Lynne conducted an interview with photographer Letitia Huckaby, a Fort Worth, Texas–based artist and cofounder of Kinfolk House, a collaborative project space in Fort Worth. In 2023, Huckaby was commissioned by Johnica Rivers and Michelle Lanier of the Harriet Jacobs Project to create a photographic series that resulted in the exhibition Memorable Proof . This exhibition was installed in the historic Chowan County Courthouse in Edenton, North Carolina, where Harriet Jacobs was born. In the interview, Huckaby discusses her relationship to the medium of photography through her
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Eng, Matthew. "Things Hold." Film Quarterly 78, no. 4 (2025): 48–54. https://doi.org/10.1525/fq.2025.78.4.48.

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All Dirt Roads Taste of Salt, the feature-length debut of filmmaker Raven Jackson, is a formally rigorous and era-spanning mosaic of abiding kinship, gentle romance, quotidian habitation, and earthly splendor among a Black family in rural Mississippi. Across Jackson’s body of work to date, the writer-director’s slantwise approach to cinematic storytelling entails impenetrable silences and jarring, time-curving cuts, a style that she sees as a direct outgrowth of her experimentation as a poet. On the occasion of the ongoing international release of All Dirt Roads Taste of Salt following its pre
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riely, elizabeth gawthrop. "John James Audubon's Tastes of America." Gastronomica 11, no. 2 (2011): 29–37. http://dx.doi.org/10.1525/gfc.2011.11.2.29.

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John James Audubon (1785–1851), the ornithologist and artist, traveled widely through the great American wilderness searching for bird specimens to draw for what became The Birds of America (1827–38). He observed them closely in their natural environment, keeping detailed field notes and journals under difficult conditions. Out of curiosity and hunger, he often cooked and ate these birds after drawing them and wrote down how they tasted—another kind of evidence. The article concentrates on his written descriptions (lively, humorous, wry, or astonished) and tasting notes in the wild. Audubon tr
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Green, William, and Roland L. Rodell. "The Mississippian Presence and Cahokia Interaction at Trempealeau, Wisconsin." American Antiquity 59, no. 2 (1994): 334–59. http://dx.doi.org/10.2307/281936.

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Red-slipped pottery and a multiterrace platform mound at Trempealeau, Wisconsin, indicate the presence of an early Mississippian outpost in the upper Mississippi Valley ca. A.D. 1000. Trempealeau apparently represents a Mississippian elite site-unit intrusion from the American Bottom, and it probably served as a nodal point of early contact between Cahokia and peoples of the upper Mississippi Valley. By establishing a mound center at Trempealeau, its founders not only secured access to material goods but also facilitated the flow of information from the northern Mississippi Valley to the newly
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Books on the topic "Mississippi Artist"

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Maurer, Christopher. Dreaming in clay on the coast of Mississippi: Love and art at Shearwater. University Press of Mississippi, 2010.

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Maurer, Christopher. Dreaming in clay on the coast of Mississippi: Love and art at Shearwater. University Press of Mississippi, 2010.

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Maurer, Christopher. Dreaming in clay on the coast of Mississippi: Love and art at Shearwater. University Press of Mississippi, 2010.

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Maurer, Christopher. Dreaming in clay on the coast of Mississippi: Love and art at Shearwater. Doubleday, 2000.

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1946-, Hampl Patricia, and Tucker Anne, eds. Sleeping by the Mississippi. Steidl, 2004.

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1844-1903, Bosse Henry, ed. Mississippi blue: Henry P. Bosse and his views on the Mississippi River between Minneapolis and St. Louis, 1883-1891. Twin Palms, 2002.

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Mississippi. Legislature. PEER Committee. An operational review of the Mississippi Arts Commission. [Mississippi Legislature, Joint Committee on Performance Evaluation and Expenditure Review, 1985.

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Black, Patti Carr. American masters of the Mississippi Gulf Coast: George Ohr, Dusti Bongé, Walter Anderson, Richmond Barthe. Mississippi Arts Commission, 2009.

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Commission, Mississippi Arts, and Mississippi State University. Dept. of Art., eds. American masters of the Mississippi Gulf Coast: George Ohr, Dusti Bongé, Walter Anderson, Richmond Barthe. Mississippi Arts Commission, 2009.

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Black, Patti Carr. American masters of the Mississippi Gulf Coast: George Ohr, Dusti Bongé, Walter Anderson, Richmond Barthe. Mississippi Arts Commission, 2009.

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Book chapters on the topic "Mississippi Artist"

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van Delden, Ate. "Piano Roll Artist." In Adrian Rollini. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825155.003.0003.

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This chapter opens with the emergence of the pianola, the automatic piano, which allowed everybody to produce music on a piano. The music was coded in holes in rolls ofpaper which is pulled through the pianola. When the market had fully developed, Kohler, a manufacturer of piano parts decided to enter, too. It wanted to expand and formed a subsidiary, Republic, for the production and sale of piano rolls. In need for artists to make piano rolls, Republic found young Adrian Rollini andin 1920 the company offered him a contract. Republic issued1-4 piano rolls a month played by Rollini until it wi
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Kutch, Lynn Marie. "The Tortured Artist." In The Comics of R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0010.

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In this chapter, Lynn Marie Kutch demonstrates why Crumb’s artistic style is supremely adept at telling Kafka’s story and visually interpreting his fiction stories. The chapter argues that Crumb’s distinct style of seeing and drawing substantially supplements the plethora of existing work on Kafka by providing concretely provocative and aggressive graphic renditions of the abstract elements—such as abuse, torment, monstrousness, self-doubt, and absurdity—that characterized Kafka’s life and shaped his oeuvre. The book weaves biographical elements from Franz Kafka’s tortured life story with brie
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Timreck, Lee Ann. "Alex Bostic, American Artist." In Pieces of Freedom. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845870.003.0006.

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Woods, Naurice Frank, and George Dimock. "Edward Mitchell Bannister (1828–1901)." In Race and Racism in Nineteenth-Century Art. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0003.

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Edward Mitchell Bannister achieved national acclaim in painting at the Centennial International Exposition of 1876. As a result, he helped establish, once his race was known, that it was possible that African Americans could triumph at the highest levels of the fine arts. Thus, only four years after Robert S. Duncanson’s death, another Black landscape painter demonstrated that race held no natural barriers to artistic success. This chapter traces Bannister’s rise as an artist through his connections with the abolitionists of Boston, his competition from other Black artists for limited patronag
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Shaheen, Fred Mark. "Clouds, Colors, and the Wonder of U." In Feel My Big Guitar. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845252.003.0004.

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This chapter evaluates the influence of Joni Mitchell on Prince. A handful of musical figures loom large over Prince's formation; not as immediately obvious, but no less significant is Joni Mitchell, the musician, the songwriter, the painter. Prince was inspired by Joni's use of color as a means of expression in both the literal and figurative sense. She also influenced Prince's use of space and silence in his musical arrangements. At times, both Joni Mitchell and Prince connected brilliantly with audiences. Both artists have also been inducted into the Rock and Roll Hall of Fame. Even when th
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Timreck, Lee Ann. "Women of Mark." In Pieces of Freedom. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496845870.003.0002.

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This chapter introduces the reader to the lives and art of Mary Edmonia Lewis and Meta Warrick Fuller, and their emancipation sculptures Forever Free and Emancipation. As highly accomplished African American “women of mark,” Lewis and Fuller not only broke racial barriers through their realistic and dignified depiction of their Black subjects, but they also crafted a rare, and powerful visual narrative of emancipation from the Black perspective. Although similar in theme, the two emancipation sculptures were sculpted fifty years apart and differ greatly in artistic style, emotion, and narrativ
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Woods, Naurice Frank, and George Dimock. "Robert Seldon Duncanson (1821–1872)." In Race and Racism in Nineteenth-Century Art. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.003.0002.

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Robert Seldon Duncanson was America’s first great painter of African descent. His accomplishments placed him in the first rank of nineteenth-century American landscape artists, but his race created challenging societal impediments in the way he pursued his artistic muse—in his social interactions with whites, in the way he produced his art, in the clientele that patronized him, and on deeply personal levels. This chapter demonstrates how Duncanson not only survived as an artist of color living in antebellum times, but also managed to establish a solid reputation as one of America’s finest repr
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Blomgren, Olga. "“Cast Lât Bâ Dlo , Across the Seas”." In Narrating History, Home, and Dyaspora. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496839879.003.0004.

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Weaving together a different way to understand history, nation, and home, Edwidge Danticat encourages archipelagic thinking and decoloniality in the essay collection Create Dangerously: The Immigrant Artist at Work. Danticat’s text considers the way art which relies on personal and public histories brings people into relations beyond borders and national narratives, a community which includes the diasporas. Archipelagic thinking is steeped in continuous movement, and in this text immigrant artists are at home with mobilities and transit. Moreover, physical and transnational human mobilities st
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"Introduction." In The Comics of R. Crumb, edited by Daniel Worden. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.003.0001.

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From his work on underground comix like Zap and Weirdo from the 1960s through to the 2000s, to his cultural prominence, Robert Crumb is one of the most renowned comics artists in the medium’s history. And, through his involvement in music, animation, and documentary film projects, Crumb is a widely recognized persona, an artist who has defined the vocation of the cartoonist. This introduction contextualizes Crumb within late twentieth-century comics and arts cultures.
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Svorinich, Victor. "Development." In Listen to This. University Press of Mississippi, 2015. http://dx.doi.org/10.14325/mississippi/9781628461947.003.0003.

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To many critics and fans, Bitches Brew appeared to have come out of nowhere. His transition from being a “jazz” artist to a “popular” artist parallels the drastic transition Bob Dylan made from being a “folk” artist to a “rock” artist shortly before. Bitches Brew, however, was not a revolution. This chapter illustrates how Bitches Brew came from a ten-plus year development period and an abundance of African-American culture. Like Dylan’s music, Bitches Brew illustrates both continuity and change. Many of the traits of this album show how existing elements can reach a new synthesis that gives t
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Conference papers on the topic "Mississippi Artist"

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Pérez García, Juan Carlos. "HISTORIETAS FOTOGRÁFICAS: ALGUNOS USOS DE LA FOTOGRAFÍA EN EL CÓMIC." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15468.

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Las relaciones entre cómic y fotografía puede rastrearse hasta elsiglo XIX, con casos como el del pionero del cómic estadounidense A.B. Frost. En 1878, Frost entró en la Academia de Bellas Artes dePennsylvania para estudiar con el pintor Thomas Eakins, cuando esteúltimo estaba interesado en incorporar a las artes plásticas losavances de las series fotográficas de Eadweard Muybridge. Los primeros cómics de Frost fueron un desarrollo humorístico en dibujos de la imagen en movimiento que había aprendido en las series fotográficas de Muybridge como parte del entorno de Eakins (Smolderen 2014: 120)
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Idilova, Irina. "THE MISSISSIPPI RIVER IN MARK TWAIN�S BOOKS AS A RESERVOIR FOR STUDYING AMERICAN CULTURE." In 6th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sgemsocial2019v/6.1/s11.016.

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Tangarife, Alexandra. "Inherited Family Trauma Model and its Application in Jesmyn Ward's Sing, Unburied, Sin." In 8th World Conference on Arts, Humanities, Social Sciences and Education. Eurasia Conferences, 2025. https://doi.org/10.62422/978-81-981590-2-1-019.

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Jesmyn Ward’s Sing, Unburied, Sing is a polyvocal narrative that touches on death, institutional racism and multigenerational trauma. The novel explores the trials and tribulations of a broken Mississippi family through the perspective of a twelve year old boy named Jojo, his mother Leonie, and a ghost by the name of Richie. Inherited family trauma is at the forefront of this novel as it unveils the effects of slavery and how stress factors and behavioral responses translate across generations. The impermanence of trauma is discovered in multiple parts of the novel including the spirit of Rich
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