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Books on the topic 'Mississippi Artist'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

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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4

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

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5

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

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6

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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7

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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8

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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9

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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10

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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11

1844-1903, Bosse Henry, ed. Views on the Mississippi: The photographs of Henry Peter Bosse. University of Minnesota Press, 2001.

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12

Michael, Conforti, ed. Minnesota 1900: Art and life on the upper Mississippi, 1890-1915. University of Delaware Press, 1994.

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13

Riss, Murray. First shooting light: A photographic journal reveals the legacy and lure of hunting clubs in the Mississippi Flyway. ArtsMemphis, 2008.

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14

Cunningham, O'Neill Anne, and Schadt Susan, eds. First shooting light: A photographic journal reveals the legacy and lure of hunting clubs in the Mississippi Flyway. ArtsMemphis, 2008.

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15

Conference, Mississippi Valley Industrial Teacher Education Conference. Industrial teacher education in transition: A publication of the papers presented at the 75th Conference of the Mississippi Valley Industrial Teacher Education Conference, St. Louis, Missouri, November 10 and 11, 1988. MVITEC, 1988.

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16

Shange, Ntozake. Liliane: Resurrection of the daughter. St. Martin's Press, 1994.

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17

Shange, Ntozake. Liliane: Resurrection of the daughter. Methuen, 1995.

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18

Clay, Maude Schuyler. Delta Land (Author and Artist). University Press of Mississippi, 1999.

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19

Elizabeth, Spencer. On the Gulf (Author and Artist Series). University Press of Mississippi, 1991.

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20

Williams, Paul, and James Lyons, eds. The Rise of the American Comics Artist. University Press of Mississippi, 2010. http://dx.doi.org/10.14325/mississippi/9781604737929.001.0001.

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21

Maurer, Christopher, and Maria Estrella Iglesias. Dreaming in Clay on the Coast of Mississippi. Doubleday, 2000.

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22

The Bay Reverie Series: a reflection. Harry Calvin Ward, 2016.

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23

Oksman, Tahneer, and Seamus O'Malley, eds. The Comics of Julie Doucet and Gabrielle Bell. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496820570.001.0001.

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Julie Doucet, who started publishing in the late 1980s, is a cartoonist and artist best known for her semi-auto biographical works, as depicted in her Dirty Plotte series as well as My New York Diary. Coming into her own in the late 1990s, when she first started self-publishing her comics, Gabrielle Bell rose to prominence with her 2009 book of short story comics, Cecil and Jordan in New York, as well as her diary comics, which have been recurrently collected in full-length books. While each artist has a unique perspective, style, and world view, the essays in this book investigate these artis

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24

Worden, Daniel, ed. The Comics of R. Crumb. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496833754.001.0001.

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The Comics of R. Crumb: Underground in the Art Museum is a ground-breaking collection on the work of a pioneer of underground comix and a fixture of comics culture. Crumb’s work is widely known—he has created the iconic characters Fritz the Cat, Mr. Natural, and the Snoid, has collaborated on influential autobiographical comics with Aline Kominsky-Crumb and Harvey Pekar, has drawn album covers like Big Brother & the Holding Company’s Cheap Thrills, has created popular images like the “Keep on Truckin” illustrations widely reproduced on posters and T-shirts, and has been the subject of a ma

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25

Loza, Steven, and Anthony Wilson. The Jazz Pilgrimage of Gerald Wilson. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816023.001.0001.

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Jazz great Gerald Wilson (1918–2014), born in Shelby, Mississippi, left a global legacy of paramount significance through his progressive musical ideas and his orchestra's consistent influence on international jazz. Aided greatly by interviews that bring Wilson's voice to the story, this book presents a perspective on what the musician and composer called his “jazz pilgrimage.” Wilson uniquely adapted Latin influences into his jazz palette, incorporating many Cuban and Brazilian inflections as well as those of Mexican and Spanish styling. Throughout, the book refers to Wilson's compositions an

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26

Bolick, Harry, and Tony Russell. Fiddle Tunes from Mississippi. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835796.001.0001.

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In 2015 University Press of Mississippi published Mississippi Fiddle Tunes and Songs from the 1930s by Harry Bolick and Stephen T. Austin to critical acclaim and commercial success. Roughly half of Mississippi’s rich, old-time fiddle tradition was documented in that volume and Harry Bolick has spent the intervening years working on this book, its sequel. Beginning with Tony Russell’s original mid-1970s fieldwork as a reference, and later working with Russell, Bolick located and transcribed all of the Mississippi 78 rpm string band recordings. Some of the recording artists like the Leake County

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27

Bennett, Tanya Long, ed. Critical Essays on the Writings of Lillian Smith. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496836847.001.0001.

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A white woman living in segregated Georgia during the first half of the twentieth century, Lillian Smith surprised readers with stories of mixed-race love affairs, mob attacks on “outsiders,” and young female campers exploring their sexuality. Critical Essays on the Writings of Lillian Smith considers Smith’s evolution from a young girls’ camp director into a courageous artist engaging difficult topics with frankness and courage. She did not pull punches in her portrayals of the South, yet she devoted herself to the artist’s role as she saw it: to lead readers toward a better understanding of

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28

Horlock, Douglas. The Films of Delmer Daves. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838841.001.0001.

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Although Delmer Daves was a prolific director and screenwriter during Hollywood’s ‘Golden Age,’ there has been little serious analysis of his work. Regarded as a director of non-reflective action movies, author and director Bertrand Tavernier concluded that he was the most forgotten of American directors. More recent publications which consider his better known films have initiated more sustained appreciation of Daves as a film-maker, but to date, no scholarly monograph has examined his full body of work. This comprehensive study considers all his films, as well as screenplays written for othe

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29

Ferris, William. Charley Patton. Edited by Robert Sacré. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816139.001.0001.

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Fifty years after Charley Patton's death in 1934, a team of blues experts gathered five thousand miles from Dockery Farms at the University of Liege in Belgium to honor the life and music of the most influential artist of the Mississippi Delta blues. This book brings together essays from that international symposium on Charley Patton and Mississippi blues traditions, influences, and comparisons. Originally published by Presses Universitaires de Liège in Belgium, this edition has been revised and updated with a new foreword, new images added, and some chapters translated into English for the fi

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30

Sommers, Joseph Michael, and Kyle Eveleth, eds. The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.001.0001.

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Neil Gaiman (1960-present) currently reigns in the literary world as one of the most critically-decorated and popular authors of the last fifty years. Perhaps best known as the writer of the Harvey, Eisner, and World Fantasy-award winning DC/ Vertigo series, The Sandman, Gaiman quickly became equally-renowned in literary circles for works such as Neverwhere, Coraline, the Hugo, Nebula, Locus, etc. award-winning American Gods, as well as the Newbery and Carnegie Medal-winning The Graveyard Book. For adults, for children, for the comic reader to the viewer of the BBC's Doctor Who, Gaiman's writi

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31

Baldanzi, Jessica, and Hussein Rashid, eds. Ms. Marvel's America. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827029.001.0001.

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This book is a scholarly examination of the comic book character of the new Ms. Marvel, Kamala Khan, from multiple disciplinary approaches, including religious studies, gender studies, cultural studies, communication, and pedagogy. The essays cover topics from fashion, immigration history, technoculture, and fandom and are intended for a broad range of general and academic readers, from comics fans to comics scholars. The book’s four main sections—“Precursors,” “Nation and Religion, Identity and Community,” “Pedagogy and Resistance,” and “Fangirls, Fanboys, and the Culture of Fandom”—apply spe

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32

McFarlane, Brian. The Films of Fred Schepisi. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835352.001.0001.

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Fred Schepisi is a crucial name associated with the ‘revival’ of the Australian film industry in the 1970s. This book traces the lead-up to Schepisi’s critical successes in feature-filmmaking via his earlier award-winning success as a producer in advertising commercials in the 1960s and the setting up of his own company. A minor biographical element considers Schepisi’s early education in a Catholic seminary, which he drew on in his semi-autobiographical film, The Devil’s Playground, the success of which launched him as an exciting new feature director. The book then charts Schepisi’s developm

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33

McLaughlin, Jeff, ed. Graphic Novels as Philosophy. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496813275.001.0001.

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In a follow-up to Comics as Philosophy, this book addresses two questions: which philosophical insights, concepts, and tools can shed light on the graphic novel? And how can the graphic novel cast light on the concerns of philosophy? Each chapter ponders a well-known graphic novel to illuminate ways in which philosophy can untangle particular combinations of image and written word for deeper understanding. The chapters examine notable graphic novels within the framework posited by these two questions. One chapter discusses how a philosopher discovered that the panels in Jeff Lemire's Essex Cou

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34

Goss, Nina, and Eric Hoffman, eds. Tearing the World Apart. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496813329.001.0001.

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Bob Dylan is many things to many people. Folk prodigy. Rock poet. Quiet gentleman. Dionysian impresario. Cotton Mather. Stage hog. Each of these Dylan creations comes with its own accessories, including a costume, a hairstyle, a voice, a lyrical register, a metaphysics, an audience, and a library of commentary. Each Bob Dylan joins a collective cast that has made up his persona for over fifty years. No version of Dylan turns out uncomplicated, but the postmillennial manifestation seems peculiarly contrary—a tireless and enterprising antiquarian; a creator of singular texts and sounds through p

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35

Karpf, Juanita. Performing Racial Uplift. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496836687.001.0001.

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The multi-talented E. Azalia Hackley (1867-1922) became nationally famous as a concert artist, music teacher and race leader. Her name was respected in virtually every African-American household in the early twentieth century. Growing up in black Detroit, she began touring as a pianist and soprano soloist while only in her teens. By the late-1910s, she had toured coast-to-coast, earning glowing reviews. Her concert repertoire consisted of an innovative blend of spirituals, popular ballads, virtuosic showstoppers and classical pieces. She also taught music while on tour and visited several hund

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36

Bolden, Tony. Groove Theory. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830524.001.0001.

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Tony Bolden presents an innovative history of funk music focused on the performers, regarding them as intellectuals who fashioned a new aesthetic. Utilizing musicology, literary studies, performance studies, and African American intellectual history, Bolden explores what it means for music, or any cultural artifact, to be funky. Multitudes of African American musicians and dancers created aesthetic frameworks with artistic principles and cultural politics that proved transformative. Bolden approaches the study of funk and black musicians by examining aesthetics, poetics, cultural history, and

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37

Beyond Mississippi - various artists (MANTDCD209). Manteca, 2002.

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38

Woods Jr., Naurice Frank, and George Dimock. Race and Racism in Nineteenth-Century Art. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496834348.001.0001.

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Painters Robert Duncanson (ca. 1821–1872) and Edward Bannister (1828–1901) and sculptor Mary Edmonia Lewis (ca. 1844–1907) each became accomplished African American artists. But as emerging art makers of color during the antebellum period, they experienced numerous incidents of racism that severely hampered their pursuits of a profession that many in the mainstream considered the highest form of social cultivation. Despite barriers imposed upon them due to their racial inheritance, these artists shared a common cause in demanding acceptance alongside their white contemporaries as capable paint

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39

Kirschke, Amy Helene, ed. Women Artists of the Harlem Renaissance. University Press of Mississippi, 2014. http://dx.doi.org/10.14325/mississippi/9781628460339.001.0001.

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40

Munson, Kim A., ed. Comic Art in Museums. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.001.0001.

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Over the last twenty years, the growing diversity in content and artistic innovation in graphic novels, comic books, and web comics combined with the popularity of films based on comics material have made comic art newly attractive to curators, museums, and university galleries. More artists identified with comics are getting big budget retrospectives, collecting institutions are mounting rich historical shows, and exhibits capitalizing on the popularity of all types of comics are popping up around the world. This book is an introduction to the history and controversies that have shaped comics

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41

Leader-Picone, Cameron. Black and More than Black. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496824516.001.0001.

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This book analyzes twenty-first century African American fiction through the proliferation of post categories that arose in the new millennium. These post categories—post-black, post-racialism, post-Soul—articulate a shift away from the racial aesthetics associated with the Black Arts Movement and argue for the individual agency of Black artists over the meaning of racial identity in their work. Analyzing key works by Colson Whitehead, Alice Randall, Chimamanda Ngozi Adichie, Paul Beatty, Jesmyn Ward, and Kiese Laymon, this book argues that twenty-first century African American fiction highlig

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42

Braziel, Jana Evans. Riding with Death. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812742.001.0001.

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On the southern end of the Grand Rue, a major thoroughfare that runs through the center of Port-au-Prince, waits the Haitian capital's automobile repair district. This junkyard of steel and rubber, recycled parts, old tires, and scrap metal might seem an unlikely foundry for art. Yet, on the street's opposite end thrives the Grand Rue Galerie, a working studio of assembled art and sculptures wrought from the refuse. Established by artists André Eugène and Jean Hérard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics radically challenge ideas about consumption, waste, and

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43

Regional Exhibition: Paintings by Artists West of the Mississippi. Creative Media Partners, LLC, 2021.

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44

Sleeping by the Mississippi. Steidl, 2008.

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45

Anderson, Crystal S. Soul in Seoul. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830098.001.0001.

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Soul in Seoul: African American Popular Music and K-pop examines how K-pop cites musical and performative elements of Black popular music culture as well as the ways that fans outside of Korea understand these citations. K-pop represents a hybridized mode of Korean popular music that emerged in the 1990s with global aspirations. Its hybridity combines musical elements from Korean and foreign cultures, particularly rhythm and blues-based genres (R&B) of African American popular music. Korean pop, R&B and hip-hop solo artists and groups engage in citational practices by simultaneously em

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46

Soth, Alec. Sleeping by the Mississippi. Mack, 2017.

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47

Artists of the South: Alabama, Georgia, Mississippi : the fine art catalogue. Mountain Productions of Texas, 1992.

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48

Hatschek, Keith. The Real Ambassadors. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837776.001.0001.

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The Real Ambassadors tells the story of three determined artists: Louis Armstrong, Dave Brubeck, and Iola Brubeck, and the stand they took against segregation by writing and performing a jazz musical titled The Real Ambassadors. First conceived by the Brubecks in 1956, the musical’s journey to the stage for its 1962 premiere tracks extraordinary twists and turns across the backdrop of the civil rights movement. A variety of colorful characters, from Broadway impresarios to gang-connected managers, surface in the riveting storyline. During the Cold War, the US State Department enlisted some of

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49

Fraser, Benjamin. Visible Cities, Global Comics. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496825032.001.0001.

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The story of comics is also the story of the modern city. Visible Cities, Global Comics thus makes urban contribution to an interdisciplinary phase in comics studies. Striking a balance between descriptive, historical, analytical and theoretical modes, Fraser’s research monograph explores representations of the city in a selection of comics from across the globe. First, this book brings insights from urban theory to bear on specific comics texts; and second, it uses comics texts to elucidate themes of urbanism, architecture, planning and the cultures of cities in works from the 18<sup>th</sup>

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50

Wade, Stephen. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036880.003.0013.

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This introductory chapter first describes the artists featured in this volume. These twelve musicians, singers, and groups recorded between 1934 and 1942—seven black and five white—provide a baker's dozen of folksongs and traditional tunes. Apart from their surpassing artistic gifts, these individuals illuminate an America rich with local creativity. They resided in such places as Salyersville, Kentucky; Byhalia, Mississippi; and Salem, Virginia. They also confined their music making largely to their own communities. Sometimes they sang on playgrounds, sometimes while chopping cotton, and some

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