ISBN:
9780226131054
,
022613105X
Language:
English
Pages:
285 Seiten
,
illustrationen
,
24 cm
DDC:
700.89/96073
Keywords:
Contemporary Black Artists in America (Exhibition) 〈(1971〉
;
De Luxe Show (Exhibition) 〈(1971〉
;
Contemporary Black Artists in America (Exhibition)
;
De Luxe Show (Exhibition)
;
African American art Exhibitions
;
History
;
Art, Abstract Exhibitions
;
History
;
Art, American Exhibitions 20th century
;
History
;
Art and race
;
Art and society
;
Modernism (Art) Social aspects
;
Nineteen seventy-one, A.D
;
African American art Exhibitions
;
History
;
Art, Abstract Exhibitions
;
History
;
United States
;
Art, American Exhibitions
;
History
;
20th century
;
Art and race
;
Art and society United States
;
Modernism (Art) Social aspects
;
United States
;
Nineteen seventy-one, A.D
;
African American art Exhibitions
;
20th century
;
USA
;
Schwarze
;
Person of Color
;
Kunst
;
Kulturpolitik
;
Kunstausstellung
;
Rassismus
;
Geschichte 1971
Abstract:
Introduction: Social experiments with modernism -- The figure of the black modernist -- Making a show of discomposure: Contemporary Black Artists in America -- Local color and its discontents: the DeLuxe show -- Appendix: Raymond Saunders, Black is a color
Abstract:
In this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists' desire to gain freedom from overt racial representation, as well as their efforts〈U+2014〉and those of their advocates〈U+2014〉to further that aim through public exhibition. Amid calls to define a black aesthetic, these experiments with modernist art prioritized cultural interaction and instability. 'Contemporary Black Artists in America' highlighted abstraction as a stance against normative approaches, while 'The DeLuxe Show' positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color's special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists〈U+2014〉among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas〈U+2014〉rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture〈U+2019〉s preoccupation with color
Note:
Includes bibliographical references and index
,
Introduction: Social experiments with modernism
,
How it looks to be a problem
,
Making a show of discomposure: Contemporary Black Artists in America
,
Local color and its discontents: the DeLuxe show
,
Appendix: Raymond Saunders, Black is a color (1967)
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