African American and Black British Art, 1965-2015
De som köpt den här boken har ofta också köpt Epidemics and Society av Frank M Snowden (häftad).
Köp båda 2 för 895 kr"...[A] welcome new volume . . . . [and] a Herculean effort of naming and contextualizing an array of vital and frequently overlooked practices and methods. Its power as an intellectual project and teaching resource is to work inductively, sidestepping theory and allowing artists words to elaborate the specificity of art making as a form of individual exploration and collective intervention." * caa.reviews - College Art Association * ". . . a timely contribution to the field of Black diasporic art history. . . . Celeste-Marie Bernier offers respite from seemingly interminable institutional tendencies that continue to limit Black British and African American art to particular curatorial and art-historical jurisdictions. Whereas the former is often expediently defined within the historical parameters of the 1980s, the latter is rarely viewed in relation to other art histories, not least those of the United States. Stick to the Skin challenges these conventions and pathologies, bringing as it does a comparative study of the work of over fifty artists spanning half a century. . . . we can be grateful to Bernier who, as a UK-based academic, has taken it upon herself to produce a very tangible and substantial study on contemporary Black visual arts practice." * Burlington Magazine * "Throughout, Bernier examines how art can dismantle, disrupt and challenge the status quo. It can be a form of radical protest, used to confront racism and white privilege in a world that continues to be threatened by outsiders and others. This remarkable book makes very clear how and why this is important, more so today than ever." * Times Higher Ed *
Celeste-Marie Bernier is Professor of US and Atlantic Studies at the University of Edinburgh. She is the author of African American Visual Arts; Characters of Blood: Black Heroism in the Transatlantic Imagination; Suffering and Sunset: World War I in the Art and Life of Horace Pippin; and (with Andrew Taylor) If I Survive: Frederick Douglass and Family in the Walter O. Evans Collection.
FOREWORD Lubaina Himid PREFACE WE WILL BE / WHO WE WANT / WHERE WE WANT / WITH WHOM WE WANT ACKNOWLEDGMENTS INTRODUCTION Inside the Invisible African American and Black British Artists and Art-Making Traditions 1 Do Something with It The Search for a New Critical Language in African American and Black British Art 2 Im Always Ready to Die Memorializing Slavery and Narrativizing Freedom 3 Lifting, Hanging, Burning Defiance, Dissidence, and to Destroy Is to Create 4 Branded, Raped, Beaten Acts and Arts of Bearing Witness 5 How to Paint Suffering Anti-Portraiture, Anti-Product, and Anti-Painting 6 Enter at Your Own Risk Artist-as-Trickster-as-Prophet-as-Historianas- Witness-as-Freedom-Fighter-as-Artist 7 BURIED, HIDDEN, AND DISGUISED Storying in a State of Shock 8 A FREAK IN THE BLIZZARD OF THE WHITE MANS GAZE Black Absent Presences and Present Absences 9 An Indelible Mark? Autobiographies, Archives, and Amnesia 10 I Was Branded Spectacularized Histories, Serial Narratives, and Illicit Iconographies 11 Power to the Powerless Tracing Black Lives in Protest Portraits, History Paintings, and Radical Installations 12 Hurting to Death Struggle, Survival, and Storytelling in Salvaged Objects, Paint, Beads, and Steel CONCLUSION Survivors of the Diasporic Journey Past, Present, and Future Artists and Art-Making Traditions NOTES BIBLIOGRAPHIC NOTE LIST OF ILLUSTRATIONS INDEX