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
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.
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.
Arlo Guthrie revisits Guthrie's fifteen-year ride as a recording artist. With a look at Guthrie's life and times before and after this prolific period of his career, this biography is 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.
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.
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.
Historians have long discussed the interracial families of prominent slave dealers in Richmond, Virginia, and elsewhere, yet, until now, the story of slave trader Bacon Tait remained untold. Among the most prominent and wealthy citizens of Richmond, Bacon Tait embarked upon a striking and unexpected double life: that of a white slave trader married to a free black woman. In The Secret Life of Bacon Tait, Hank Trent tells Tait’s complete story for the first time, reconstructing the hidden aspects of his strange and often paradoxical life through meticulous research in lawsuits, newspapers, deeds, and other original records. Active and ambitious in a career notorious even among slave owners for its viciousness, Bacon Tait nevertheless claimed to be married to a free woman of color, Courtney Fountain, whose extended family were involved in the abolitionist movement and the Underground Railroad. As Trent reveals, Bacon Tait maintained his domestic sphere as a loving husband and father in a mixed-race family in the North while running a successful and ruthless slave-trading business in the South. Though he possessed legal control over thousands of other black women at different times, Trent argues that Tait remained loyal to his wife, avoiding the predatory sexual practices of many slave traders. No less remarkably, Courtney Tait and their four children received the benefits of Tait’s wealth while remaining close to her family of origin, many of whom spoke out against the practice of slavery and even fought in the Civil War on the side of the Union. In a fascinating display of historical detective work, Trent illuminates the worlds Bacon Tait and his family inhabited, from the complex partnerships and rivalries among slave traders to the anxieties surrounding free black populations in Courtney and Bacon Tait’s adopted city of Salem, Massachusetts. Tait’s double life illuminates the complex interplay of control, manipulation, love, hate, denigration, and respect among interracial families, all within the larger context of a society that revolved around the enslavement of black Americans by white traders.
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