Catalog for the exhibition of Hank Willis Thomas' work entitled OPP: Other People's Property curated by Kalia Brooks for the Cantor Fitzgerald Gallery at Haverford College, January 25 - March 8, 2012
Arlo Guthrie, the son of America’s legendary dust bowl troubadour Woody Guthrie and Martha Graham dancer Marjorie Mazia Guthrie, was reared in the rarefied atmosphere of New York City’s remnant Old Left culture, a period that brought together art, political action, and folk music. Music was part of Guthrie’s life from the very beginning and his self-confessed earliest childhood memory was standing knee-high next to Lead Belly, the blues legend and “King of the twelve-string Guitar.” Arlo's earliest mentors were his father’s friends, and the youngster would learn his craft from the giants of American folk music: Pete Seeger, the Weavers, Cisco Houston, Josh White, Oscar Brand, Ramblin’ Jack Elliott, Brownie McGhee, and Sonny Terry. Arlo Guthrie: The Warner/Reprise Years revisits Guthrie’s fifteen-year ride as a recording artist for the prestigious record label. Hank Reineke guides readers through the colorful history of Guthrie’s most creative period, when the droll, shaggy-haired troubadour promised in song that a “new world" was surely coming. In his thoughtful consideration of Guthrie's career as a popular, if idiosyncratic, recording artist for the Reprise/Warner Bros. label, Reineke regales readers with stories behind the remarkable success of Guthrie’s talking blues-turned-movie Alice’s Restaurant and his celebrated appearance at the 1969 Woodstock festival. Guthrie’s time at Reprise/Warner Bros. from 1967 to 1982 saw twelve critically acclaimed solo albums, two staple singles of FM radio (“Coming Into Los Angeles” and “City of New Orleans”), and a pair of treasured folk-music recording collaborations with Pete Seeger. With a look at Guthrie’s life and times before and after this prolific period of his career, Arlo Guthrie: The Warner/Reprise Years is the first biography dedicated solely to this gifted artist. A goldmine of information on the Guthrie family's legacy to American music, the counterculture of the 1960s, and the record industry of the 1970s, this work also features a detailed bibliography as well as the first comprehensive discography of Guthrie’s recordings through the present day. Arlo Guthrie: The Warner/Reprise Years will appeal to popular music historians, folk-rock fans, and readers interested in the American counterculture of the 1960s and 1970s.
Rightly called the saddest story in rock 'n' roll history, this Creedence biography--newly updated with stories from band members, producers, business associates, close friends, and families--recounts the tragic and triumphant tale of one of America's most beloved bands. Hailed as the great American rock band from 1968 to 1971, Creedence Clearwater Revival captured the imaginations of a generation with classic hits like "Proud Mary," "Down on the Corner," "Green River," "Born on the Bayou," and "Who'll Stop the Rain." Mounting tensions among bandmates over vibrant guitarist and lead vocalist John Fogerty's creative control led to the band's demise. Tracing the lives of four musicians who redefined an American roots-rock sound with unequaled passion and power, this music biography exposes the bitter end and abandoned talent of a band left crippled by debt and dissension.
An unprecedented examination of how news stories, editorials and photographs in the American press—and the journalists responsible for them—profoundly changed the nation’s thinking about civil rights in the South during the 1950s and ‘60s. Roberts and Klibanoff draw on private correspondence, notes from secret meetings, unpublished articles, and interviews to show how a dedicated cadre of newsmen—black and white—revealed to a nation its most shameful shortcomings that compelled its citizens to act. Meticulously researched and vividly rendered, The Race Beat is an extraordinary account of one of the most calamitous periods in our nation’s history, as told by those who covered it.
This volume documents a groundbreaking convening on January 28, 2017 in The Met’s Grace Rainey Rogers Auditorium, inspired by the exhibition Kerry James Marshall: Mastry on view at The Met Breuer October 25, 2016–January 29, 2017. During the daylong event, twenty noted thought leaders and creative practitioners considered the role of creativity, hard work, social justice, and imagination in art history, performance, science, and other disciplines inspired by visual artist Kerry James Marshall’s practice and work. The event was a mix of rich extended conversations and exciting nine-minute performances and presentations. p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 14.0px Verdana} The program and this publication were made possible by the generous support of the Ford Foundation.
Shortly after the independent Carolina League was formed in 1936, officials of the National Association of Professional Baseball--which oversaw what was known as "organized baseball," including the major leagues--began a campaign to destroy the league. The NAPB declared the Carolina League "outlaw" and blacklisted its players because their teams were pirating professionally-contracted ballplayers with the lure of higher wages, small-town hero worship and a career off-season. Backed into a corner, the Carolina League wore its "outlaw" label with a defiant swagger, challenging the all-powerful monopoly of organized professional baseball and its standard player contract. This complete history of the league reveals how it persevered through three tumultuous seasons, fueled by the tight-knit community spirit of North Carolina Piedmont textile towns. Over its three seasons of existence, the Carolina League attracted professional baseball players from all over the country and it gave the players control over their careers, setting a standard that was resisted until free agency was adopted in 1973.
From Hans Bellmer's grotesquely assembled poupée seductresses in the 1930s-40s to Todd Haynes's 1987 banned masterpiece "Superstar: The Karen Carpenter Story" told with Barbie dolls, artists have frequently turned to the seeming benignity of childhood toys in order to explore the darker realities of adult behavior and desire. For Winter in America, Hank Willis Thomas and collaborator Kambui Olujimi use the dolls Thomas and Willis played with as children, carefully stored for years in a friend's basement. Yet these toys are no longer fantasy objects; Thomas and Olujimi are able to create a gripping tableau because in their attention to detail they achieve such unnerving authenticity."-- from the afterword by Carla WilliamsChallenging and thought-provoking, the photographs in Winter in America are taken from the video collaboration of the same name, a stop-motion animation short film based on the murder of Songha Thomas Willis, who was killed outside of Club Evolutions in Philadelphia on February 2, 2000. Both elements enlist G.I. Joe action figures that the artists once used to create similar violent narratives as children. The packaging for the action figures reads, "for children ages 5+," even though they all come with guns. Through this project the artists examine the breeding of a culture of violence in young boys, who are invited to author violent scenarios before they can even read.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.