At the close of the twentieth century, black artists began to figure prominently in the mainstream American art world for the first time. Thanks to the social advances of the civil rights movement and the rise of multiculturalism, African American artists in the late 1980s and early ’90s enjoyed unprecedented access to established institutions of publicity and display. Yet in this moment of ostensible freedom, black cultural practitioners found themselves turning to the history of slavery. Bound to Appear focuses on four of these artists—Renée Green, Glenn Ligon, Lorna Simpson, and Fred Wilson—who have dominated and shaped the field of American art over the past two decades through large-scale installations that radically departed from prior conventions for representing the enslaved. Huey Copeland shows that their projects draw on strategies associated with minimalism, conceptualism, and institutional critique to position the slave as a vexed figure—both subject and object, property and person. They also engage the visual logic of race in modernity and the challenges negotiated by black subjects in the present. As such, Copeland argues, their work reframes strategies of representation and rethinks how blackness might be imagined and felt long after the end of the “peculiar institution.” The first book to examine in depth these artists’ engagements with slavery, Bound to Appear will leave an indelible mark on modern and contemporary art.
Terry Adkins, Edgar Arceneaux, Elizabeth Axtman, Jonathan Calm, Paul D'Amato, Deborah Grant, Todd Gray, Shannon Jackson, Thomas Johnson, Jason Lazarus, David Levinthal, Glenn Ligon, David McKenzie, Rodney McMillian, Jerome Mosley, Virginia Nimarkoh, Demetrius Oliver, Sze Lin Pang, Carl Pope, William Pope. L, Robert A. Pruitt, Randy Regier, Daniel Roth, Joanna Rytel, Andres Serrano, Hank Willis Thomas, Mickalene Thomas
Terry Adkins, Edgar Arceneaux, Elizabeth Axtman, Jonathan Calm, Paul D'Amato, Deborah Grant, Todd Gray, Shannon Jackson, Thomas Johnson, Jason Lazarus, David Levinthal, Glenn Ligon, David McKenzie, Rodney McMillian, Jerome Mosley, Virginia Nimarkoh, Demetrius Oliver, Sze Lin Pang, Carl Pope, William Pope. L, Robert A. Pruitt, Randy Regier, Daniel Roth, Joanna Rytel, Andres Serrano, Hank Willis Thomas, Mickalene Thomas
Taking its title from Ralph Ellison's 'Invisible Man', this exhibition will explore a shift in the rhetoric of race from an earlier emphasis on inclusion to a present moment where racial identity is being simultaneously rejected and retained. The exhibition will bring together works by 26 black and non-black artists whose work together examines a moment where the cultural production of so-called "blackness" is concurrent with efforts to make race socially and politically irrelevant.0Exhibition: The Renaissance Society, Chicago, USA (20.04-08.06.2008).
A smart account of a defining moment in African American contemporary art. The early 1990s were a game changer for black artists. Many rose prominently to lead the field of advanced art more generally--artists like GlennLigon, Renee Green, Fred Wilson, Lorna Simpson and others. It was in the early 1990s when African American artists began to produce installation and conceptual work, where previously, as an identity group, they had focused on figurative painting and craft work. Now, suddently, artists were producing site specific installations, sound art, performance, and readymades that sought to immerse the viewer in environments that provoked the experience of slaveryand raised awareness of the constructedness of "blackness" in this country.
In this flamboyant fiction novel, Louisiana Governor Huey “Kingfish” Long, one of Franklin Roosevelt’s political rivals, details a political fantasy in which he is president of the United States. Through imaginary conversations with men of power, he presents his aspirations, including the “Share Our Wealth” plan, created in 1934 under the motto “Every Man a King” and how he would enact the program if elected in 1936. The plan proposed new wealth redistribution measures in the form of a net asset tax on corporations and individuals to curb the poverty and homelessness endemic nationwide during the Great Depression. Long visualizes his inauguration as President of the United States and details his nomination picks for his executive cabinet, including William Edgar Borah as Secretary of State, James J. Couzens as Secretary of the Treasury, and Smedley Butler as Secretary of War. This book was published posthumously in 1935, following Long’s assassination on Sunday, September 8, 1935. It is illustrated throughout with political cartoons.
In the United Church of Christ, we hope to not only preach God's extravagant welcome but we aim to provide help for sermon preparation for preachers of progressive churches. "Sermon Seeds: Year C Inclusive Reflections for Preaching from the United Church of Christ" offers the preacher tools to listen for the Stillspeaking God. Kathryn Matthews Huey offers scholarly and personal wisdom for your sermon preparation.
Originally published in 1987 this book addresses practical issues in the education of adults in the USA but also encompasses theoretical and abstract ideas. There are chapters on 20th century initiatives in American adult education as well as education of the elderly and adult literacy.
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