Photo African American

Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2

Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2
Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2
Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2
Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2

Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2   Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2
Dawoud Bey Jason, 2003 Inkjet Print approximately 12" X 11 1/2"; matted 11 1/4" X 20". Bey, Dawoud (né: David Edward Smikle). Queens, NY, 1953; active Chicago, IL, 2015. Fine Arts Center, University of Massachusetts.

Addison Gallery of American Art, Phillips Exeter Academy. DAWOUD BEY: Recent Photographic Portraits. DAWOUD BEY: Picturing the South: The Commission Project. Portraits Re/Examined: A DAWOUD BEY Project.

In: BOMB Magazine 108 (Summer 2009). Compelling conversation between two great photographers. 4to 11 x 9 in.

In the Spirit of Minkisi: the art of DAVID HAMMONS. In: Third Text 27 (Summer 1994):45-54, color illus.

DAWOUD BEY: The Birmingham Project. An exhibition that symbolically commemorates the four young girls whose lives were lost on September 15, 1963, in the bombing of the Sixteenth Street Baptist Church, as well as the two Birmingham boys who lost their lives in the resulting violence that day, Virgil Ware and Johnny Robinson. Traveled to: Mary Boone Gallery, New York, NY, Thru June 28, 2014.

BACA Downtown Center for the Arts. DAWOUD BEY: Brooklyn Street Portraits.

Fogg Art Museum, Harvard University. Solo exhibition of the complete five year series of street photographs in Bey's Harlem U.

A, with additional new work. Texts by Colin Westerbeck, Dawoud Bey, James Vanderzee. 8vo 8.5 x 9.6 in. David and Alfred Smart Museum of Art, University of Chicago. DAWOUD BEY: The Chicago Project, In Collaboration with Dan Collison and Elizabeth Meister.

Chicago: University of Chicago Press, 2004. (78 in color) plus audio CD. 8vo 25 x 24 cm. DAWOUD BEY: Portraits in Context. Exhibition of Bey's street portraits, alongside work by other artists selected by Bey from the Museum's collection.

Museum of Contemporary Photography, Columbia College. Renaissance Society, University of Chicago. Review: Kyle MacMillan, Chicago Sun-Times, May 23, 2012.

DAWOUD BEY: New Photographic Work. Rhona Hoffman Gallery at Gallery 312. Wexner Center for the Arts, Ohio State University. Work created during a five-week residency at Chadsey High School in Detroit. Images are accompanied by student texts.

In: The Chicago Reader (May 2, 2012). Olin Art Gallery, Kenyon College. Perspectives 160: DAWOUD BEY: Class Pictures. Text by Valerie Cassel Oliver. DAVID HAMMONS: Rousing the Rubble. By Alanna Heiss; texts by Steve Cannon, Kellie Jones, Tom Finkelpearl. Photo essays by Dawoud Bey and Bruce Talamon. Traveled to Institute of Contemporary Art, Philadelphia; San Diego Museum of Art, La Jolla.

DAWOUD BEY: Photographs from the Streets. Checklist of 82 works, biog. Coleman, Jessica Hagedorn and Kellie Jones; interview with artist by Jock Reynolds. Excellent survey of Bey's work of the past two decades from street images shot in Harlem and Brooklyn to the more recent Polaroid studio portraits.

Traveled to: Albright-Knox Gallery, Buffalo, NY; Chicago Cultural Center, Chicago, IL; Virginia Beach Center for the Arts, VA; El Paso Museum, TX ; The Newark Museum, NJ; Jersey City Museum, NJ; Robeson Center Gallery, Newark, NJ; Cleveland Center for Contemporary Art, St. Louis, MO; and the Barbican Centre, London, UK. Review: Barry Schwabsky, "Redeeming the Humanism in Portraiture, " NYT, April 20, 1997. 4to 11 x 8.56 in. DAWOUD BEY: Portraits of New Haven Teenagers.

Photographic portraits of teenagers from all parts of the economic, racial, and ethnic spectrum in both public and private high schools in Detroit; Lawrence and Andover, Massachusetts; Orlando; San Francisco; and New York City. Traveled to Weatherspoon Art Museum, Greensboro, NC; Indianapolis Museum of Art, September 26-November 23; and other venues.

Larger-than-life portrait images of high school students. DAWOUD BEY's Harlem USA. November 11, 2010-March 13, 2011. Richard Stockton College of New Jersey.

Reynolds, Jock and Taro Nettleton. Class Pictures: Photographs by DAWOUD BEY. Large-scale color portraits of students taken over a fifteen-year span at high schools across the United States. Depicting teenagers from a wide economic, social and ethnic spectrum--and intensely attentive to their poses and gestures--Bey has created a highly diverse group portrait of a generation that intentionally challenges teenage stereotypes. DAVID HAMMONS: Been There and Back.

Text by Silvia Eiblmayr and photographer Dawoud Bey. Traveled to: Galerie Christine Konig, Vienna, September 1-October 31, 1995. Review: Christian Kravagna, "David Hammons, " Artforum International (January 1996):93.

Respect and Representation: DAWOUD BEY's portraits of individual identity. In: Third Text 44 (Autumn 1998):55-68. DAWOUD BEY: The Southampton Project. GENERAL BOOKS AND GROUP EXHIBITIONS. Collecting the New: Museums and Contemporary Art.

Passing mention of 70+ African American artists (only 14 women), most in the essay by Lowery Stokes Sims (Director, Studio Museum in Harlem) Collecting the Art of African Americans at the Studio Museum in Harlem: Positioning the'New' from the Perspective of the Past. " The African artists are primarily clustered in the text by Pamela McClusky (Curator of African and Oceanic Art, Seattle Art Museum) "The Unconscious Museum: Collecting Contemporary African Art without Knowing It. 8vo 9.2 x 6.1 in.

Faces of the Addison: Portraits of the Collection. Get the Picture: Photographs from the Collection. Included: Dawoud Bey, Adrian Piper.

On the Street: Photographs from the Permanent Collection. The Addison Gallery of American Art: 65 Years.

Included: Dawoud Bey, et al. University of Michigan Museum of Art. Group exhibition of works from the Light Work collection. The exhibition looks at the spirit and character of Eatonville through the work of contemporary photographers Dawoud Bey, Lonnie Graham, Carrie Mae Weems, and Deborah Willis, each of whom have created a new body of work for this exhibition, exploring the importance of place to individual and collective identity. Center for Curatorial Studies, Bard College. October 26, 1996-January 5, 1997. 39 in color, artists' statements. Group exhibition of 81 artists. Curated and edited by Joshua Decter. Includes: Dawoud Bey, Nayland Blake, Coco Fusco, Renée Green, Lyle Ashton Harris, Glenn Ligon, Adrian Piper, Gary Simmons. APPIAH, KWAME ANTHONY and HENRY LOUIS GATES, Jr. Africana: The Encyclopedia of the African and African American Experience.

Oxford University Press, 1999; 2005. No new information or in-depth discussion of the visual arts.

Names of visual artists included in the accounts of each period of black history are often lumped into a one sentence list; very few have additional biographical entries. As of 2011, far more substantial information on most of the artists is available from Wikipedia than is included in this Encyclopedia. Includes mention of: James Presley Ball, Jean-Michel Basquiat, David A. Bannister, Richmond Barthé, Cornelius Battey, Romare Bearden, Dawoud Bey, Everald Brown, Elizabeth Catlett, Dana Chandler, Roland Charles, Barbara Chase-Riboud, Albert V.

Crite, Beauford Delaney, Joseph Delaney, Murry Depillars, Jeff Donaldson, Aaron Douglas, Robert S. Duncanson, Meta Vaux Warrick Fuller, the Goodridge Brothers, Rex Goreleigh, Tapfuma Gutsa, Palmer Hayden, Lyle Ashton Harris, Chester Higgins, Joshua Johnson, Sargent Johnson, William H. Johnson, Ben Jones, Seydou Keita, Lois Mailou Jones, William (Woody) Joseph, Wifredo Lam, Jacob Lawrence, Edmonia Lewis, Fern Logan, Stephen Marc, Lynn Marshall-Linnemeier, Willie Middlebrook, Scipio Moorhead, Archibald Motley, Gordon Parks, Horace Pippin, Prentiss H.

Porter, Elizabeth Prophet, Faith Ringgold, Alison Saar, Betye Saar, Chéri Samba, Augusta Savage, Jeffrey Scales, Addison L. Scurlock, Charles Sebree, Johannes Segogela, Twins Seven- even, Coreen Simpson, LornaSimpson, Moneta Sleet, Marvin & Morgan Smith, Renée Stout, Henry Ossawa Tanner, Hank Willis Thomas, Dox Thrash, James Vanderzee, Christian Walker, the Wall of Respect, Laura Wheeler Waring, Augustus Washington, Carrie Mae Weems, Charles White, Cynthia Wiggins, Carla Williams, Pat Ward Williams, et al.

The entry on African Women Artists includes an odd and out-of-date collection of names: Elizabeth Olowu, Agnes Nyanhongo, Alice Sani, Inji Efflatoun, Grace Chigumira, Theresa Musoke, Palma Sinatoa, Elsa Jacob, and Terhas Iyasu. Hopefully future editions will follow the path of the substantially expanded edition of 2005 and will alter the overall impression that black visual artists are not worth the time and attention of the editors. Note: Now out-of-print and available only through exorbitant subscription to the Oxford African American Studies Center (OAASC) a single database incorporating multiple Oxford encyclopedias, ongoing addiitions will apparently be unavailable to individuals or to most small libraries in the U.

10.9 x 8.6 in. Group exhibition by four legendary photographers: Dawoud Bey, Paul D? Amato, white photographer Wayne F. IAN BAUCOM, and SONIA BOYCE, eds. Shades of Black: assembling black arts in 1980s Britain.

Durham: Duke University Press, 2005. Includes (many only in passing): Ajamu, Romare Bearden, Dawoud Bey, Zarina Bhimji, Frank Bowling, Sonia Boyce, Eddie Chambers, Allan DeSouza, Uzo Egonu, Rotimi Fani-Kayode, Mikki Ferrill, Joy Gregory, Lyle Ashton Harris, Lubaina Himid, Claudette Johnson, Isaac Julien, Roshini Kempadoo, Marc Latamie, Dave Lewis, Glann Ligon, Donald Locke, Whitfield Lovell, Steve McQueen, Ronald Moody, Ngozi Onwurah, Horace Ove, Keith Piper's Wait, Did I Miss Something? Some Personal Musings on the 1980s and Beyond, Adrian Piper, Ingrid Pollard, Marlon Riggs, Veronica Ryan, Hussein Shariffe, Yinka Shonibare, Vincent Stokes, Maud Sulter, Kara Walker, Maxine Walker, Carrie Mae Weems, Aubrey Williams, et al.

10.5 x 8.25 in. Three Photographers: Dawoud Bey, Fern Logan, Shawn Walker.

New York: Hatch-Billops Collection, 1990. In: Artist and Influence 9 (1990): (129)-41. Panel discussion between the three artists, brief biogs. Group exhibition of 60 works by 30 artists in memory of the Sixteenth St. Curated by Ron Platt, and Jeffreen Hayes. Included: Art Bacon, Radcliffe Bailey, Dawoud Bey, Thornton Dial, Theaster Gates, Hank Kearsley, Whitfield Lovell, Dave McKenzie, Betye Saar, Shinique Smith, Jefferson Pinder, Hank Willis Thomas, et al. Harlem Crossroads: Black Writers and the Photograph in the Twentieth Century.

Princeton (NJ): Princeton University Press, 2007. 8vo 23.8 x 16.2 cm. Face and Figure in Contemporary Art.

The New Face of the Portrait. American Character: A Photographic Journey. San Francisco: Chronicle Books, 2009. Exhibition and book featuring the perspective of eleven photographers. Includes: Dawoud Bey photographs of a diverse cross-section of young Americans near Chicago's Columbia College.

New York; Edison Place Gallery, Washington, DC; Philadelphia, Chicago, St. Louis, San Francisco and Los Angeles. Also issued in limited edition of 350 with signed original print by one of the photographers. Features: Coreen Simpson, Jules T. Allen, Dawoud Bey; essay by Lucy Lippard.

Features: Accra Shepp, Conrad Barclay, Hilton Braithwaite. Brooklyn Museum of Art, Community Gallery. Included: Yvonne Bandy, Che Baraka, Dawoud Bey, Gilbert Fletcher, and Marilyn Nance.

Department of Art, Long Island University. John Bennette: A Photographic Collection in Progress.

Included: Jules Allen, Dawoud Bey, Albert Chong, Roy DeCarava, Fern Logan, Coreen Simpson. Curated by Ruben Natal-San Miguel. Included: Dawoud Bey, Bayeté Ross Smith, Hank Willis Thomas. BURTON, ORVILLE VERNON AND DAVID O'BRIEN, eds. Urbana: University of Illinois Press, 2009.

See particularly Section III: The Arts and Brown, includes: Sekou Sundiata, "Why Colored Faces in High Places Just Won't Do;" John Jennings, "The Chance Project;" Ralph Lemon, "What Was Always There;" David O'Brian and Carrie Mae Weems, "Art and Integration: An Interview with Carrie Mae Weems;" David O'Brien, "Social Studies: Eight Artists Address Brown" a partial reconstruction of an exhibition including Dawoud Bey, Sanford Biggers, Brett Cook-Dizney, Virgil Marti, Gary Simmons, and Carrie Mae Weems. A Century of Collecting: African American Art in the Art Institute of Chicago.

Curated by Daniel Schulman, associate curator of modern and contemporary art. 60 artists (over half contemporary) including: Benny Andrews, Radcliffe Bailey, Richmond Barthé, Jean-Michel Basquiat, Romare Bearden, Dawoud Bey, Hilda Wilkinson Brown, Margaret Burroughs, William S. Carter, Elizabeth Catlett, Edward Clark, Kerry Stuart Coppin, Eldzier Cortor, Allan Rohan Crite, Charles C.

Dawson, Aaron Douglas, John E. Dowell, Beauford Delaney, Joseph Delaney, Melvin Edwards, Walter Ellison, Sam Gilliam, David Hammons, William Harper, George Herriman, Earlie Hudnall, Jr.

Richard Hunt, Joshua Johnson, Rashid Johnson, Sargent Johnson, Joseph Kersey, Jacob Lawrence, Norman Lewis, Glenn Ligon, Kerry James Marshall, Willie Middlebrook, Keith Morrison, Archibald J. Motley, Marion Perkins, Allie Pettway, Jessie T. Pettway, Robert Pious, Adrian Piper, Horace Pippin, Martin Puryear, Faith Ringgold, William Edouard Scott, Vincent Smith, Nelson Stevens, Alma Thomas, Bob Thompson, Henry Ossawa Tanner, James Vanderzee, Kara Walker, Carrie Mae Weems, Gearldine Westbrook, Charles White, Sarah Ann Wilson, Hale Woodruff, Joseph E. November 19, 1998-January 10, 1999. Included: Dawoud Bey, Byron Kim, and Ana Mendieta.

Re: Chicago: Highlights from the Permanent Collection. September 16, 2011-March 4, 2012. Texts by by Robert Cozzolino, Wendy Greenhouse, Kirsten Jensen and Lynne Warren. Group exhibition of work by 40 artists, each selected by a different curator.

Includes: Dawoud Bey, Nick Cave, Richard Hunt, Kerry James Marshall. Solo exhibition of photographs and video-based work curated by Dawoud Bey. Cut, Pulled, Colored & Burnt. Included: Dawoud Bey, Brett Cook-Dizney, Rashid Johnson, Lauren Kelly. One of a Kind: Portraits from the LaSalle Bank Photography Collection.

22 color and 40 tritone illus. Heagy; text by Carol EhlersIncluded: Dawoud Bey, Roy DeCarava, Seydou Keita, Gordon Parks, Carrie Mae Weems. 4to 29.3 x 27.2 cm. Mayor's Office, City of Chicago.

The Chicago Public Art Guide. Contains index of works by region, branch library installations, special projects, map, index of artists with titles of work. Of the following works: Richard Hunt (Freeform, 1993, stainless steel sculpture, State of Illinois Building); Preston Jackson Irv Kupcinet Memorial, 2006, bronze cast portrait sculpture, Wabash Ave. /approach to Irv Kupcinet Bridge. Works at the Harold Washington Library Center: Houston Conwill and Estella Conwill Majozo (Du Sable's Journey, 1991, terrazzo and inlaid brass floor design); Jacob Lawrence Events in the Life of Harold Washington, 1991, ceramic tile mural. Works in the collection of the Harold Washington Library Center: Faith Ringgold (The Winner, 1988, painted quilt); Muneer Bahauddeen (sculpture); John Bankston (painting); William Dawson (sculptures); Robert Dilworth (painting); Richard Hunt (drawing); Preston Jackson (sculpture); Calvin Jones (painting); Bertrand Phillips (painting); David Philpot (sculptures); Arnaldo Roche-Rabell (painting); Tim Rollins + K. (painting); Alison Saar (sculpture); Lorna Simpson (photographic print); Fan Warren (drawings). At the Legler Branch Library: Elizabeth Catlett (Floating Family, 1996, carved wood); and Kerry James Marshall (Knowledge and Wonder, 1996, mural painting).

At the Austin Senior Satellite Center: Brook Collins (Family Mosaics, 2006, 15 photographs) and Melvin King (Follette Park and Selma March, 2006, paintings). At the Rosemont busline station: Martin Puryear (River Road Ring, 1986, wood sculpture). At the 4th District Police Station: Amir Nour (Untitled, 1980, rolled steel semi-spheres).

Martin Luther King Drive: Alison Saar (Monument to the Great Northern Migration, 1994, bronze figure sculpture); art benches by: Willie Cole, Geraldine McCullough; Ed Dwight Blues Sculptures - Four Musicians, 2005, bronze sculptures, at 47th St. 4 quilts by Gladys Henry, Laverne Brackens, Sherry Byrd and Sara Byrd - four generations of African American quiltmakers.

At Chicago International Airport: Dawoud Bey (Chicago Couples, 2000, photographic print); Richard Hunt Flight Forms, 2001, stainless steel. At the Thurgood Marshall Branch Library: Venus Blue (They All Had Something in Common, 1995, quilt).

At the Woodson Branch Library: Bernard Williams (sculpture). At the Rogers Park Branch Library: Al Tyler (paintings). At the Uptown Branch Library: Mr.

At Mabel Manning Branch Library: Dawoud Bey (photographs) and Willie Carter (painting). At Logan Square Branch Library: Arnaldo Roche-Rabell (paintings).

At West Chicago Branch Library: Nick Cave (fabric). At Brainerd Branch Library: Preston Jackson (sculpture).

At Douglass Branch Library: Emilio Cruz banners. At Woodson Branch Library: Richard Hunt (sculpture), Charles Searles (sculpture), and Bernard Williams (sculpture). At Wrightwood-Ashburn Branch Library: Candida Alvarez (stained glass) and Gerald Griffin (collage).

At Avalon Branch Library: Stephen Marc (photographs). At Bessie Coleman Branch Library: Laverne Brackens (quilt) and Arbie Williams quilt. At Chicago Bee Branch Library: Carrie Mae Weems (painting/mixed media), Derek Webster (sculpture), and Gregg Spears (painting). At Jeffery Manor Branch Library: Marva Lee Pitchford Jolly (ceramic installation). At Kelly Branch Library: Robert Dilworth (painting) and Jacob Lawrence (lithograph).

At Pullman Branch Library: Orisegun Olomidun (painting) and Bernard Williams (mural). At South Chicago: Kerry James Marshall (mural).

At South Shore Branch Library: Muneer Bahauddeen (sculpture and mosaic) and Laverne Brackens (quilt). West Pullman Branch Library: Marcus Akinlana (mural and mixed media).

Museum of Contemporary Art (MCA). Life, Death, Love, Hate, Pleasure, Pain: Selected Works from the MCA Collection. November 16, 2002- April 20, 2003. Edited by Kari Dahlgren, Trisha Beck.

Introductory essay by Elizabeth Smith. A two- or three-page spread is devoted to each artist, including one or more photo illustrations and a concise essay.

Includes: Dawoud Bey, Stan Douglas, David Hammons, Richard Hunt, Byron Kim, Wifredo Lam, Glenn Ligon, Kerry James Marshall, Paul Pfeiffer, Adrian Piper, Martin Puryear, Yinka Shonibare, Gary Simmons, Lorna Simpson, Kara Walker, et al. 4to 30.9 x 23 cm. 12.2 x 9.3 in.

In Sight: Recent Additions to the Permanent Collection. Included: Dawoud Bey, Lorna Simpson. Photography's Multiple Roles: Art, Document, Market, Science. Texts by Mihaly Csikszentmihalyi, Denise Miller, Eugenia Parry, Ed Paschke, F.

David Peat, Naomi Rosenblum, Franz Schulze and Rod Slemmons. Explores the multiple roles of photography as viewed through the MCP's collection of American photography of the 1960s, 70s, 80s and 90s. Included: Dawoud Bey, Carrie Mae Weems. 4to 11 x 10 in. Selections From the Midwest Photographer's Project.

Included: Dawoud Bey, Lyle Ashton Harris, Adam Pendleton, Tim Rollins and K. Lorna Simpson, Mickalene Thomas, Carrie Mae Weems, Kehinde Wiley. South Side Community Art Center. Maleness to Manhood: Reclamation of the Young Black Male. Included: Najjar Abdul-Musawwir, Marcus Alleyne, Floyd Atkins, Sherman Beck, Dawoud Bey, Hebru Brantley, Paul Branton, Roger Carter, Robert Lewis Clark, Calvin A.

Coleman, Keith Conner, George Crump, Sura Dupart, Ted Ellis, Ted Feaster, Reynaldo Ferdinand, Stephen Flemister, Gerald Griffin, Adam Guichard, Andre Guichard, Al Hawkins, Clifton Henri, Isidore Howard, Bryant Johnson, Melvin King, Thomas Lucas, Dayo Laoye, Faheem Majeed, Ka-El Mycal, Eric Nix, Turtel Onli, Nii Oti, Mark Richardson, Jonathon Romain, Ken Simmons, Tony Smith, Rahmaan Statik, Raymond A. Thomas, Tyress Upton, Tony Wade, Raub Welch, Ron West, Bernard Williams, Doug Williams, Tom Williams.

Andre Kertesz: Observations, Thoughts, Reflections. Essays by Curators, Colleagues, Friends and Collectors. Includes text by Dawoud Bey. Published to accompany the exhibition. 4to, gray silk boards, dust jacket. Terra Museum of American Art.

Indivisible: Stories of American Community. Traveled to: Akron Art Museum, Akron, OH; Center for Creative Photography, Tucson, AZ; North Carolina Museum of Art, Raleigh, NC; Museum of Contemporary Art, San Diego, CA; John and Mable Ringling Museum of Art, Sarasota, FL; Philadelphia Museum of Art, Philadelphia, PA; Anchorage Museum of History and Art, AK; San Antonio Museum of Art, San Antonio, TX. The FLAG Art Foundation at Chicago Expo. A City Seen: Photographs from the George Gund Foundation Collection. November 17, 2002-January 26, 2003.

Group exhibition of 12 artists. Photographs of Cleveland from the Cuyahoga River to Lake Erie, through local neighborhoods, public schools, arts institutions, and urban gardens.

From Then To Now: Masterworks of Contemporary African American Art. Group exhibition of work by 27 artists.

Curated by Margo Ann Crutchfield. Romare Bearden, Dawoud Bey, Chakaia Booker, Willie Cole, Robert Colescott, Dexter Davis, Leonardo Drew, Sam Gilliam, René Green, Trenton Doyle Hancock, Mark Howard, Richard Hunt, Rashid Johnson, Glenn Ligon, Alvin Loving, Kerry James Marshall, John L. Moore, Bradley McCallum and Jacqueline Tarry, Adam Pendleton, Faith Ringgold, Alison Saar, Lorna Simpson, Alma Thomas, Kara Walker, Carrie Mae Weems and Kehinde Wiley. The first time that holdings of contemporary African-American art from five local collections the AMAM, the Akron Art Museum, the Cleveland Museum of Art, the Cleveland Clinic Collection, and the Progressive Collection have been shown together. Then to Now: Masterworks of Contemporary African American Art featuring the work of Dexter Davis'90. Included: Romare Bearden, Dawoud Bey, Willie Cole, Dexter Davis, Leonardo Drew, Renée Green, David Hammons, Glenn Ligon, John L. Moore, Alison Saar, Lorna Simpson, Jacqueline Tarry, Alma Thomas, Kara Walker, Carrie Mae Weems, Kehinde Wiley, et al. The Black Photographers Annual Vol.

Williams, essays on Parks and Saunders, interview with James Vanderzee. Includes: Jules Allen, Jeanne Moutoussamy-Ashe, Anthony Barboza, Ronald Barboza, Dawoud Bey, Carroll Parrott Blue, Adger W.

Cowans, Cary Beth Cryor, Louis Draper, Sharon C. Farmer, Roland Freeman, Keith Hale, Robert Houston, Marilyn Nance, Gordon Parks, Jacqueline LaVetta Patten, Paul Phillips, Richard Saunders, Moneta Sleet, Beuford Smith, Hamilton S. Smith, Ming Smith, Frank Smith, Frank Stewart, Gerald Straw, James Vanderzee, Mel Wright. Jacob Gallery, Wayne State University Department of Art. Included: Dawoud Bey (photographs of children), Brett Cook-Dizney (a mixed media piece involving community video interviews and a spray painting) and Tyree Guyton who exhibited a piece entitled Noah?

S Ark which had been originally beached on the lawn of his Heidelberg Project. The Ark looks like a painted and decorated fun-park type boat overflowing with a mountain of stuffed animals. Museum of Contemporary Art (MOCAD). Becoming: Photographs from the Wedge Collection. Group exhibition of works from the collection of Kenneth Montague.

Included: Henry Clay Anderson, Dawoud Bey, Mohamed Camara, Calvin Dondo, Samuel Fosso, Joy Gregory, Tony Gleaton, Seydou Keita, Megan Morgan, Dennis Morris, Zwelethu Mthethra, J. Petros, Charlie Phillips, Wayne Salmon, Jamal Shabazz, Malick Sidibé, Hank Willis Thomas, Mickalene Thomas, James Vanderzee, Nontsikelelo "Lolo" Veleko.

Nasher Museum of Art, Duke University. August 11, 2011-January 8, 2012.

Group exhibition of 100+ original photographic portraits of people of color by 60 global artists. Not the same as the exhibition by this title at MOCAD in 2008 which was an all-black photo show.

Included: Artists in the exhibition: Henry Clay Anderson, James Barnor, Dawoud Bey, Deanna Bowen, Vanley Burke, Clement Cooper, William Cordova, Calvin Dondo, Rotimi Fani-Kayodé, Tony Gleaton, Joy Gregory, white South African artist Pieter Hugo, Ayana Vellissia Jackson, Rashid Johnson, Seydou Keta, Deana Lawson, Christina Leslie, Oumar Ly, Sabelo Mlangeni, Megan Morgan, Dennis Morris, Zanele Muholi, J. Okhai Ojeikere, Horace Ové, Dawit L. Petros, Charlie Phillips, Athi-Patra Ruga, Wayne Salmon, Jamel Shabazz, Malick Sidibé, Xaviera Simmons, Mickalene Thomas, Hank Willis Thomas, James VanDerZee, Cecil Norman Ward, Carrie Mae Weems, and approx. African American Visual Artists: an annotated bibliography of educational resource materials.

Lanham, MD: Scarecrow Press, 2001. Many misspellings of artists' names and a handful of white artists included. GORE, AL and TIPPER GORE. New York: Henry Holt, 2002.

A three-page introduction and a smattering of quotes from John Milton, Plato and others, this publication showcases more than 250 color and b&w photographs of contemporary American families. Includes photographs by: Anthony Barboza, Dawoud Bey, Linda Day Clark, Gerald Cyrus, Eli Reed, Bayete Ross Smith, Hank Willis Thomas. 4to 10.9 x 8.6 in.

HALL, STUART and MARK SEALY, eds. Different: Historical Context Contemporary Photographers and Black Identity. London and New York: Phaidon, 2001. (most full-page), index of artists. Major text by Stuart Hall.

Work by black artists from the U. Britain, Caribbean, and Africa, exploring images of their identity. Includes: Ajamu, Faisal Abdu'allah, Vincent Allen, David A.

Bailey, Oladélé Bamgboyé, Dawoud Bey, Zarina Bhimji, Vanley Burke, Mama Casset, Albert V. Chong, Clement Cooper, Rotimi Fani-Kayode, Samuel Fosso, Armet Francis, Remy Gastambide, Bob Gosani, Joy Gregory, George Hallett, Lyle Ashton Harris, Seydou Keita, Roshini Kempadoo, Peter Max Khondola, Alf Kumalo, Anthony Lam, Eric Lesdema, Dave Lewis, Peter Magubane, Ricky Maynard, Eustaguio Neves, Horace Ove, Gordon Parks, Eileen Perrier, Ingrid Pollard, Richard Samuel Roberts, Franklyn Rodgers, Faizal Sheikh, Yinka Shonibare, Malick Sidibé, Lorna Simpson, Clarissa Sligh, Robert Taylor, Iké Udé, James VanDerZee, Maxine Walker, Carrie Mae Weems, Deborah Willis, Ernest Withers. Hood Museum of Art, Dartmouth College. Surface and Depth: Trends in Contemporary Portrait Photography. June 15, 2002-January 19, 2003. Included: Augusta Savage, Laura Wheeling Waring, Hughie Lee-Smith, Alan Crite, Charles White, Coreen Simpson, and Dawoud Bey.

Innovation / Imagination: 50 Years of Polaroid Photography. Includes: Dawoud Bey, Tyrone Georgiou, Fazal Sheikh, Carrie Mae Weems. Published to accompany the traveling exhibition at the Photo Resource Center, Boston University; Friends of Photography, San Francisco, and Ansel Adams Center for Photography.

4to 10 x 10.5 in. The portable lower east side: New Africa Vol. Special African American issue of the cutting edge New York literary journal of new writing, poetry, cultural essays and photographs by mostly lesser-known young writers.

Includes photographs by Darrel Ellis, Dawoud Bey, André Lambertson. Jamaica Center for Arts and Learning. Includes: Dawoud Bey, Rotimi Fani-Kayode, Mikki Ferrill, Ingrid Pollard, Maxine Walker.

Traveled to Camerawork, London, UK, November, 1989. 4to 28 x 22 cm. A Contemporary Portfolio: Discussions with Dawoud Bey, Albert Chong, Adger W. Cowans, Mikki Ferrill, Todd Gray, Fern Logan, Jeffrey Scales, Accra Shepp, Carrie Mae Weems, Deborah Willis. JONES, KELLIE, with contributions by Amiri Baraka and Hettie Jones.

EyeMinded: Living and Writing Contemporary Art. Durham: Duke University Press, 2011. Contents: Eyeminded: commentary by Amiri Baraka -- Preface to a twenty volume suicide note by Amiri Baraka -- A.

Saartjie: The Hottentot Venus in context (some reflections and a dialogue), 1998/2004 -- Tracey Rose: postapartheid playground -- (Un)seen and overheard: pictures by Lorna Simpson -- Life's little necessities: installations by women in the 1990s -- Interview with Kcho -- The structure of myth and the potency of magic -- Seeing through: commentary by Hettie Jones -- In the eye of the beholder by Hettie Jones -- To/from Los Angeles with Betye Saar -- Crown jewels -- Dawoud Bey: portraits in the theater of desire -- Pat Ward Williams: photography and social/personal history -- Interview with Howardena Pindell -- Eye-minded: Martin Puryear -- Large as life: contemporary photography -- An interview with David Hammons -- Excuse me while I kiss the sky & then fly and touch down : commentary by Lisa Jones -- How I invented multiculturalism by Lisa Jones -- Lost in translation : Jean-Michel in the (re)mix -- In the thick of it: David Hammons and hair culture in the 1970s -- Domestic prayer -- Critical curators: interview with Kellie Jones -- Poets of a new style of speak: Cuban artists of this generation -- In their own image -- Tim Rollins and K. What's wrong with this picture -- Blues to the future -- Them there eyes: on connections and the visual : commentary / Guthrie P. - Free jazz and the price of Black musical abstraction / Guthrie P. Jones -- Abstract expressionism : the missing link -- Norman Lewis: The Black paintings. Many other artists mentioned in context.

8vo 25 x 17 cm. Gallery at Village Shalom, Kansas City Jewish Museum.

Celebrations and Investigations: African-American Artists in Kansas City Collections. Curated by James Martin, curator of the Sprint Corporate Art Collection which formed the backbone to the exhibition. Allen, Radcliffe Bailey, Dawoud Bey, Nedra Bonds, Sonya Y. Colescott, Henry Dixon, Arester Earl, Ed Hogan, Jonathan Knight, Kerry James Marshall, Dean Mitchell, Kori Newkirk, Lonnie Powell, Robert A. Powell, Lezley Saar, Gary Simmons, Lorna Simpson, Renee Stout, Kara Walker, Carrie Mae Weems and unattributed Sea Island baskets. To Make Our World Anew: A History of African Americans. Briefest possible mention of visual artists. Romare Bearden, Jacob Lawrence, Elizabeth Catlett, Robert Colescott, Martin Puryear, David Hammons, Faith Ringgold, Adrian Piper, Dawoud Bey, Michael Ray Charles, Ellen Gallagher, Lyle Ashton Harris, Kerry James Marshall, Alison Saar, Gary Simmons, Lorna Simpson, Kara Walker, Carrie Mae Weems. 8vo 9.5 x 6.8 in. DeCordova Museum and Sculpture Park.

Strokes of Genius: Mini Golf by Artists. Sheldon Memorial Art Gallery, University of Nebraska-Lincoln. Interpreting Experience: Bey, DeCarava, VanDerZee. December 8, 2001-March 3, 2002.

Three-person exhibition of 25 images. The Artist Portrait Series: Images of Contemporary African American Artists. Carbondale: Southern Illinois University Press, 2001. Foreword by Margaret Rose Vendryes; intro. Portrait images by photographer Fern Logan.

Subjects include: Candida Alvarez, Emma Amos, Benny Andrews, Ellsworth Ausby, Romare Bearden, Dawoud Bey Camille Billops, Bob Blackburn, Vivian Browne, Selma Burke, Nanette Carter, Elizabeth Catlett, Ed Clark, Eldzier Cortor, Adger Cowans, Ernest Crichlow, Roy DeCarava, Louis Delsarte, Joseph Delaney, Melvin Edwards, Herbert Gentry, Rosa Guy, Manuel Hughes, Richard Hunt, Bill Hutson, Lois Mailou Jones, Gwendolyn Knight (as Gwendolyn Lawrence), Jacob Lawrence, Samella Lewis, James Little, Al Loving, Fern Logan, Andrew Lyght, Richard Mayhew, Arthur Mitchell, Tyrone Mitchell, Jeanne Moutoussamy-Ashe, Gordon Parks, Howardena Pindell, John Pinderhughes, Faith Ringgold, Betye Saar, Coreen Simpson, Merton Simpson, Charles Smalls, Vincent Smith, Frank Stewart, Raymond Bo Walker, Jack Whitten, William T. Williams, Mel Wright, and others.

Back to Black: Art, Cinema, and the Racial Imaginary. Texts by curators and Mora Beauchamp-Byrd, Kathleen Cleaver, Manthia Diawara, Kodwo Eshun, Paul Gilroy, Kellie Jones. Artists and filmmakers (including many white film directors) on show include: Theodoros Bafaloukos (white director of "Rockers"), Ernie Barnes, Romare Bearden, Dawoud Bey, Everald Brown, Vanley Burke, fashion designer Stephen Burrows, Marcel Camus (French director of "Black Orpheus"), Elizabeth Catlett, Larry Cohen, William Crain (director of "Blacula"), Ossie Davis, Haile Gerima, Christopher Gonzalez, Guy Hamilton, David Hammons, Barkley L. Hendricks, Perry Henzell (white director of "The Harder They Come"), Gavin Jantjes, Kapo, Kofi Kayiga, Patrick Lichfield, Donald Locke, Ed Love, Edna Manley, Arthur Marks, Gilbert Moses III, Horace Ové, Joe Overstreet, Gordon Parks, Adrian Piper, Faith Ringgold, Eddie Romero, Betye Saar, Barry Shear, Peter Simon, Melvin Van Peebles, Osmond Watson, Charles White, Aubrey Williams, Llewellyn Xavier. Traveled to: The New Art Gallery, Walsall, UK.

Heaven: Public View, Private View. Included: Candida Alvarez, Dawoud Bey, Vaginal Davis. Los Angeles Center for Photographic Studies. Special issue on Black Photography. Middlebrook, "The Work of Roy DeCarava: His Personal Perspective" (interview with DeCarava); "Personal Perspectives on the Evolution of American Black Photography: A Talk with Carrie Mae Weems"; and a portfolio of images by photographers: Jules Allen, Anthony Barboza, Dawoud Bey, M.

Boyd, Dennis Callwood, Adger Cowans, Shirley Days, Roy DeCarava, Lou Draper, Al Fennar, Fundi, Mickey Mathis, W. Middlebrook, Beuford Smith, Lewis Watts, Carrie Mae Weems, Len Wilkerson. Los Angeles County Museum of Art (LACMA). The Patricia & Phillip Frost Art Museum, Florida International University. Recent Photographs from the Martin Z.

Middlebury College Museum of Art. Group exhibition of 12 photographers. The Big Picture: Large Format Photography. Patrick and Beatrice Haggerty Museum of Art, Marquette University. The Truth is not in the Mirror: Photography and a Constructed Identity.

Included: Dawoud Bey, LaToya Ruby Frazier, Mickalene Thomas. Traveled to: University Galleries, College of Fine Art, Illinois State University, Normal, IL. Looking Forward: Gifts of Contemporary Art from the Patricia A. September 22, 2013-January 15, 2014.

Curated by Alexandra Schwartz and Gail Stavitsky. Included: Dawoud Bey, Willie Cole, Hank Willis Thomas, Carrie Mae Weems, and Frank Whitten. The Afro-American Artist in the Age of Cultural Pluralism.

9 excellent full-page color plates, 5 b&w photos of artists by Dawoud Bey, Coreen Simpson, et al. Texts by Wendy McNeil and Clement Alexander Price. 7 artists included, with statements: Emma Amos, Camille Billops, Melvin Edwards, Sam Gilliam, Al Loving, Howardena Pindell, and Betye Saar. 8vo 10 x 9 in.

Frist Center for the Visual Arts. September 24, 2004-January 2, 2005. Group exhibition of 58 works by 25 photographers. Includes Kerry Stuart Coppin, Wardell Milan, II.

The Persistence of Photography in American Portraiture. Included: Dawoud Bey, Whitfield Lovell.

Then and Now and Later: Art Since 1945 at Yale. Group exhibition of new work by 13 artists. Included: Dawoud Bey and Byron Kim.

Images of Color 2008 - New York. An Exhibition in Celebration of Black History Month.

Works from the New York City Health and Hospitals Corporation's Art Collection. Included: Emma Amos, Benny Andrews, Romare Bearden, Dawoud Bey, Ramona Candy, Stephanie Chisholm, Eva Cockroft, Eldzier Cortor, Masha Froliak, Sam Gilliam, David Hammons, D. Lammie-Hanson, Alex Harsley, William Howard, Richard Hunt, Jacob Lawrence, Norman Lewis, Richard Mayhew, Otto Neals, Ademola Olugebefola, Valerie Phillips, Gina Samson, Alfred J.

Smith, Vincent Smith, James VanDerZee, Charles White, Emmett Wigglesworth, John Wilson, and Wendy Wilson. New York City: In Focus. Group exhibition of New York based photographers, as well as, emerging photographers with subjects focusing on different aspects of iconic imagery from NYC: architecture, landscape, culture and people. Included: Pamela Allen, Dawoud Bey, Wayne Clarke, D. Lammie Hanson, Alex Harsley, Leroy Henderson, Charlie Martin, Valerie Phillips, Ming Smith, James Vanderzee.

Hands of our Doing: An Exhibition of Photographs from the Buhl Collection. Included: Dawoud Bey and Gordon Parks. City Art: New York's Percent for Art Program. Foreword by Michael Bloomberg; intro. By Adam Gopnik; text by Eleanor Heartney; specially commissioned photographs by David S.

Features 200 works by almost as many artists. Included: Maren Hassinger, Dawoud Bey, et al. A complete record of the public art installations sponsored by New York City's Percent for Art Program since 1983.

4to 10.8 x 9 in. New York: Franklin Furnace Archive, 1982. Pages by David Hammons and Dawoud Bey. 4to 28 x 21.6 cm. International Center of Photography and Seattle Art Museum, Seattle.

Only Skin Deep: Changing Visions of the American Self. New York: ICP and Abrams, 2003. Curated by Coco Fusco and Brian Wallis. Includes: Dawoud Bey, Kerry Stuart Coppin, Maria Magdalena Campos-Pons, Renée Cox, Roy DeCarava, Rico Gatson, Mark S.

Greenfield, Lyle Ashton Harris, Chester Higgins, Jr. Rashid Johnson, Isaac Julien, Glenn Ligon, Wangechi Mutu, Kori Newkirk, Maria de Mater O'Neill, Gordon Parks, Adrian Piper, Lorna Simpson, James Vanderzee, Carrie Mae Weems, Fred Wilson. 4to 10.3 x 7.8 in.

Included: Dawoud Bey, Lyle Ashton Harris. John Jay College of Criminal Justice Art. Envisioning the World: Works from En Foco? Includes: Dawoud Bey, Kerry Stuart Coppin, Gerald Cyrus, Lauri Lyons, Juan Sanchez, Beuford Smith, Carrie Mae Weems. Exhibition of photographs that focus on identity, a sense of place, longing - from documentary to mixed media. Included: Dawoud Bey (performance), Willie Birch, Maren Hassinger, Cynthia Hawkins, Lorraine O'Grady (performance of "Mlle Bourgeoise Noire"), et al. Affirmations of Life: The Opposite of a Nuclear Nightmare.

Includes: Emma Amos, Dawoud Bey, McArthur Binion, Willie Birch, Fern Logan, Whitfield Lovell, Al Loving, Tyrone Mitchell, Charles Searles, Coreen Simpson, Kathleen Spicer, Linda Whitaker, Michael Kelly Williams, et al. Louis Abrons Arts Center, Henry Street Settlement. On the Edge: Contemporary Photographs of Manhattan's Perimeter. Included: Jules Allen, Dawoud Bey. Dawoud Bey / Vivian T.

An exhibition of 42 fairly randomly selected paintings by 38 New York artists. Four African American abstract artists (Al Loving, Joe Overstreet, Howardena Pindell and Jack Whitten) are included, along with a brief text by Dawoud Bey devoted mostly to the political activism of the period and exclusionary practices of white museums, but also mentioning the hostility to abstraction in Black art circles of the time.

Pindell and Whitten each wrote a 1-page artist's statement. Siegel's summarizing text barely mentions and unnecessarily isolates Black artists from the broader topics she addresses. Traveled to: Weatherspoon Art Museum, Greensboro, NC, August 6-October 15, 2006; American University, Washington, DC, November 21, 2006-January 21, 2007; and National Academy Museum, New York, February 13-April 22, 2007. Eight Million Stories: 20th-Century New York Life in Prints and Photographs from the New York Public Library.

New York University, Photo Center Art Gallery. Included: Dawoud Bey, Clarissa T. New York Urban League / Lever House.

Curated by Avel de Knight. A mix of painting, photography, sculpture, graphics, with a broad selection extending well beyond the New York area; numerous women artists. Includes 22 African American artists and also artists of Native American, Chicano and Hispanic descent.

Includes among others: Jules T. Allen, Toyce Anderson, Dawoud Bey, Niles Cruz, Louis J. Delsarte, Stephanie Douglas, Barkley L. Hendricks, Jaqui Holmes, Claudia Jane Hutchinson, Harold Lambert, Leonard Mainor, Howard McCalebb, Algernon Miller, Charles Mingus, III, Candace Hill-Montgomery, Marilyn Nance, Enock Placide, Richard J. Powell, Milton Sherrill, Leon Waller, E. 12mo (22 cm), tan stapled wraps. Revealing the Self: Portraits by Twelve Contemporary Artists. Included: Dawoud Bey, Lorraine O'Grady, Juan Sanchez, Coreen Simpson, Danny Tisdale, and others. Schomburg Center for Research in Black Culture. Black New York Photographers of the Twentieth Century: Selections from the Schomburg Center Collections. Checklist with brief biographies of all photographers. Includes: Salimah Ali, James L. Allen, Jules Allen, Vance Allen, Bert Andrews, Anthony Barboza, Cornelius M.

Battey, Dawoud Bey, Terry E. Boddie, Anthony Bonair, Kwame Brathwaite, Ron Campbell, Doughba Hamilton Caranda-Martin, Wayne Clarke, Gerald Cyrus, Isaac Diggs, Martin Dixon, Sulaiman Ellison, Lavell (Khepera Ausar) Finerson, Collette V. Gaskin, Austin Hansen, Inge Hardison, Joe Harris, Gerald E.

Hayes, Tahir Hemphill, Leroy W. Henderson, Heru (Art Harrison), Chester Higgins, Cecil Layne, Steve J. Martin, Frantz Michaud, Cheryl Miller, Marilyn Nance, Gordon Parks, Moira Pernambuco, Edgar E. Prince-Cole, Orville Robertson, Eli Reed, Richard Saunders, Coreen Simpson, Moneta Sleet, Jr. Beuford Smith, Klytus Smith, Ming Smith, Morgan and Marvin Smith, Chuck Stewart, Frank Stewart, James Vanderzee, Shawn W.

Recent Acquisitions of the Schomburg Collection. Brochure, Romare Bearden cover illus. Included: Jules Allen, Charles Alston, Emma Amos, Anthony Barboza, Romare Bearden, Dawoud Bey, Samuel Ellis Blount, Vivian Browne, Edward Clark, Ernest Crichlow, Beauford Delaney, Aaron Douglas, Tom Feelings, Herbert Genry, Adrienne Hoard, Jacob Lawrence, Hughie Lee-Smith, Norman Lewis, Jeanne Moutoussamy-Ashe, Ademola Olugebefola, Robert Pious, Horace Pippin, Coreen Simpson, Vincent Smith, Frank Stewart, Bill Traylor, William T.

12mo, single tan double-folded sheet 11 x 17 in. Who's Uptown: Harlem'87.

(9 in color), checklist of 76 works, directory of 42 artists; more than half of the photos are by Dawoud Bey. And curated by Deirdre Bibby. Also issued in a limited edition of 100 copies, signed on the limitation page by thirty-seven of the exhibiting artists. Artists in the exhibition included: O'Neal Abel, Aubu M. Charles Burwell, Nanette Carter, Schroeder Cherry, James Conner, Houston Conwill, Michael A.

Cummings, Pat Davis, Sandra Epps, Franco, David Hammons, Maren Hassinger, Joe Harris, Gaylord Hassan, Candace Hill, Al Hollingsworth, Claudia J. Jackson, Whitfield Lovell, Carolyn Maitland, Dindga McCannon, Algernon Miller, Tyrone Mitchell, Mark Keith Morse, Hakim Mutlaq; Nii Ahene (La) Mettle, Ademola Olugebefola, Patricia Phipps, Brian Pinkney, Debra Priestly, Okoe (Ronald) Pyatt, Faith Ringgold, Jeffrey Scales, Ed Sherman, Kaylynn Sullivan, Tesfaye Tessema, Lloyd Toone, Shawn Walker, Grace Williams, Hugh Williams, Tehran Wilson. Oblong 4to, pictorial stapled wraps.

Group exhibition focusing on images of black women. Over 50 works in various media by 30 contemporary artists. Curated by Rashida Bumbray, Ali Evans, Sandra D. Includes (among others): John Bankston, Dawoud Bey, Mark Bradford, Chakaia Booker, Renée Cox, Rico Gatson, Lyle Ashton Harris, Barkley Hendricks, Deana Lawson, Kalup Linzy's "All My Churen, " Adia Millett, Nzingah Muhammad, Wangechi Mutu, Kori Newkirk, J. Okhai Ojeikere, Nadine Robinson, Tracey Rose, Rudy Shepherd, Malick Sidibé, Lorna Simpson, Xaviera Simmons, Shinique Smith, Mickalene Thomas, Fatimah Tuggar, Ike Udé, James VanderZee, Francesco Vezzou, Kara Walker, Carrie Mae Weems, Deborah Willis.

Included: Dawoud Bey, Arnold J. Kemp, Kerry James Marshall, Odili Donald Odita, J. Okhai Ojeikere, Gordon Parks, Malick Sidibé, Carrie Mae Weems. Home: Contemporary Urban Images by Black Photographers. 12 full-page b&w photographic plates, checklist of 89 works, artists' profiles.

Ten photographers included: Jules Allen, Dawoud Bey, Dennis Olanzo Callwood, Earlie Hudnall, Jr. Brent Jones, Marilyn Nance, John Pinderhughes, Jeffrey Scales, Lewis Watts, Carrie Mae Weems and Pat Ward Williams. Group exhibition of more than 50 photographs by 31 artists (not all of African descent). Curated by Rashida Bumbray, Ali Evans and Christine Y.

Artists in the exhibition included: Jules Allen, Alice Attie, damali ayo, Randal Wilcox, Dawoud Bey, Terry E. Boddie, Jonathan Calm, Christine Camila, Karen Davis, h. Eugene foster, Adler Guerrier, Eric Henderson, Mikki K.

Harris, Leslie Hewitt, Brooke Jacobs, Robert W. Llanos, Melinda Lewis, Dave McKenzie, Gordon Parks, Carlos Perez, Katherin Schmidiger, Greg Tate, Constance Williams, and James VanDerZee.

Included: Benny Andrews, Dawoud Bey, Chakaia Booker, Ed Clark, Gregory Coates, Deborah Grant, David Hammons, Jacob Lawrence, Glenn Ligon, Sister Gertrude Morgan, Tim Rollins & K. Lorna Simpson, James Vanderzee, Kara Walker, et al. Review: Holland Cotter, "Invoking Marcus Garvey While Looking Ahead, " NYT, August 24, 2001. Includes 50 self-portrait photographs by 32 photographers.

By Mary Schmidt Campbell; texts by Patricia Mornan Bell and Richard Muhlberger. Group exhibition includes: Salimah Ali, Jules Allen, Anthony Barboza, Hugh Bell, Dawoud Bey, Michael Britto, Adger W. Cowans, Pat Davis, Daniel Dawson, Mel Dixon, Al Fennar, Bob Fletcher, Roland Freeman, Vince Frye, Al Green, Gail Hansberry, Leroy Henderson, John Burke Horne, Roy Lewis, Fern Logan, Jeanne Moutoussamy, Marilyn Nance, Larry Neilson, Gordon Parks, John Pinderhughes, Coreen Simpson, Beuford Smith, Ming Smith, Chuck Stewart, James Vanderzee, E.

Lee White, and Leroy Woodson. Traveled to: Springfield Museum of Fine Arts, Springfield, MA, August 17-October 5, 1980. 8vo (20 x 20 cm), stapled wraps. Who, What, Wear: Selections from the Permanent Collection. November 10, 2011-May 27, 2012.

Focus on evolutions in style - self-expression, fashion, artistic technique and societal ideals of beauty. Included: Dawoud Bey, Seydou Keita, Malick Sidibé, Hank Willis Thomas, James Vanderzee, Kehinde Wiley, et al.

November 29, 2007-January 20, 2008. Group exhibition of fourteen artists.

Includes photography, drawings, paintings, video and installation. Artists: Dawoud Bey, Radcliffe Bailey, Michael Paul Britto, iona rozeal brown, Zoë Charlton, Renée Cox, Barkley Hendricks, Titus Kaphar, Lawrence Lee, Robert Pruitt, Ifétayo Abdus-Salam, Mickalene Thomas, Hank Willis Thomas, Carrie Mae-Weems. Baker, The Village Voice, March 13, 2007; T. Carlin, Time Out New York, January 10-16, 2008:72. Whitney Museum of American Art.

Auping, Valerie Cassel, Hugh M. Davies, Jane Farver, Andrea Miller-Keller, Lawrence R. Includes: Dawoud Bey, Chakaia Booker, Thornton Dial, Kojo Griffin, Trenton Doyle Hancock, Arthur Jafa, Paul Pfeiffer, Carl Pope, Yvonne Welbon. Review: Jerry Saltz, "My Sixth Sense, " Village Voice, March 29-April 4, 2000. 4to 10.5 x 9 in.

Includes: Terry Adkins, Kevin Beasley, Dawoud Bey, David Hammons (part of collaboration), Tony Lewis, Dave McKenzie, My Barbarian, Taisha Paggett, Jacolby Satterwhite, the YAMS Collective. This Biennial is notable for the scant number of African American artists and at the same time the inclusion of the work of a white male artist Joe Scanlan whose work is exhibited as the product of black woman artist "Donelle Woolford" - a fictitious creation. Scanlan hires numerous black female actors to play the role of the fictional emerging New York artist "Donelle Woolford" at openings and associated performance events.

In response to the inclusion of this overtly racist work, the YAMS Collective withdrew their film from participation. Heart, Mind, Body, Soul: American Art in the 1990s, Selections from the Permanent Collection. Group exhibition curated by Thelma Golden. Included: Dawoud Bey, Nayland Blake, Glenn Ligon, Kerry James Marshall, Gary Simmons, Lorna Simpson, Fred Wilson, et al.

Inside Out: Portrait Photographs from the Permanent Collection. Included: Dawoud Bey, Rashid Johnson.

S New: Recent Acquisitions in Photography. Whitney Museum of American Art at Phillip Morris.

Photographs: Selections from the Permanent Collection. Wilmer Jennings Gallery at Kenkeleba House. Reflections of Monk: Inspired Images of Music and Moods. Included: Virginia Bagwell, Che Baraka, Romare Bearden, Dawoud Bey, Betty Blayton, Kwame Brathwaite, Danny Broadway, S.

Ross Browne, Roy DeCarava, Louis Delsarte, James Denmark, James Edmonds, Essud Fungcap, Paul T. Goodnight, Charlene Gumbs, Verna Hart, Leon Hicks, Jimi Jones, Charlotte Ka, Valerie Maynard, Gloria Aziza Lawyer, Dindga McCannon, Karl McIntosh, Otto Neals, Ademola Olugebefola, Joe Overstreet, Okoe Pyatt, Samson, Harold Smith, Chuck Stewart, TAFA, Ann Tanksley, Dinizulu Gene Tinnie, Emmett Wigglesworth, Michael Kelly Williams, Frank Wimberley, et al. Group exhibition of 9 artists.

Aljira, A Center for Contemporary Art. En Foco/In Focus: Selected Works from the Permanent Collection at Aljira.

Included: Dawoud Bey, Terry Boddie, Samantha Box, Gerald Cyrus, Lola Flash, Stephen Marc, Juan Sanchez, Hank Willis Thomas, Wendel A. Unbounded: New Art for a New Century.

Co-curated by four of the museum's curators Christa Clarke, Katherine Ann Paul, Ulysses Grant Dietz, Beth Venn. Artists included: Sandy Benjamin-Hannibal, Dawoud Bey, Willie Cole, Sokey Edorh, Victor Ekpuk, Samuel Fosso, Wosene Worke Kosrof, Senzeni Marasela, Magdalene Odundo, Kwesi Owusu-Ankomah, Martin Puryear, Yinka Shonibare MBE, Lorna Simpson. Group exhibition of selected works from the permanent collection. Included: Dawoud Bey, Adler Guerrier, and Hank Willis Thomas.

OKPEWHO, ISIDORE, CAROLE BOYCE DAVIES, Ali A. The African Diaspora: African origins and New World identities.

Bloomington: Indiana University Press, 1999. Over 40 visual artists mentioned in passing; only Basquiat is singled out for detailed and extensive individual consideration by Andrea Frohne. Selected texts, each with individual notes and bibliographies, including: "Cultural reconfigurations in the African Caribbean" by Maureen Warner-Lewis; "Modernity, memory, Martinique" by Richard Price; "Images of Africa and the Haiti revolution in American and Brazilian abolitionism" by Celia M. Azevedo; "The centrality of margins: art, gender, and African American creativity" by Sally Price; "Horned ancestral masks, Shakespearean actor boys, and Scotch-inspired set girls: social relations in nineteenth-century Jamaican Jonkonnu" by Sandra L.

Richards; "From folklore to literature: the route from roots in the African world" by Oyekan Owomoyela; "Blackness as a process of creolization: the Afro-Esmeraldian Décimas (Ecuador)" by Jean Rahier; "Islam and the black diaspora: the impact of Islamigration" by Ali A. Mazrui; "The concept of modernity in contemporary African art" by Nkiru Nzegwu; "Habits of attention: persistence of Lan Ginée in Haiti" by LeGrace Benson; "Representing Jean-Michel Basquiat" by Andrea Frohne; "Optic black: implied texts and the colors of photography" by Charles Martin; Caribbean cinema, or cinema in the Caribbean? Johnson County Community College Gallery of Art.

Portraits: Dawoud Bey, Wendy Ewald. Based on an idea by Agnes b: a knife and a photograph conceived by the photographer. 8vo 9.25 x 8.5 in.

New York: Oxford University Press, 1998. Throughout in color and b&w, notes, list of illus. Excellent new survey covering approximately 108 artists from Scipio Moorhead to Dawoud Bey, including 22 women artists: Charles Alston, Emma Amos, Benny Andrews, Malcolm Bailey, James Presley Ball, Henry (Mike) Bannarn, Edward Bannister, Dutreuil Barjon, Jean-Michel Basquiat, Romare Bearden, Peter Bentzon, Dawoud Bey, Bob Blackburn, Grafton Tyler Brown, Vivian E. Browne, Jacob (Jacoba) Bunel, Elizabeth Catlett, Dana Chandler, Ed Clark, Barbara Chase-Riboud, Houston Conwill, Eldzier Cortor, Ernest Crichlow, Dave (the Potter), Thomas Day, Beauford Delaney, Jean-Louis Dolliole, Jeff Donaldson, Aaron Douglas, Robert M.

Duncanson, William Edmondson, Melvin Edwards, Minnie Evans. Eversley, John Frances, Meta Fuller, Reginald Gammon, Herbert Gentry, Sam Gilliam, Célestin Glapion, Thomas Goss, Jr. Henry Gudgell, David Hammons, James Hampton, Maren Hassinger, Palmer Hayden, Alvin C. Hollingsworth, Richard Hunt, Bill Hutson, Clifford L. Jackson, May Howard Jackson, Martha Jackson-Jarvis, Oliver Jackson, Wadsworth A.

Jarrell, Daniel Larue Johnson, Malvin Gray Johnson, Sargent Johnson, William H. Johnson, Joshua Johnston, Ben Jones, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Norman Lewis, Jules Lion, Tom Lloyd, Al Loving, Richard Mayhew, Sam Middleton, Scipio Moorhead, Keith Morrison, Archibald Motley, Ademola Olugebefola, Mary Lovelace O'Neal, Howardena Pindell, Adrian Piper, Rose Piper, Horace Pippin, Harriet Powers, Noah Purifoy, Martin Puryear, Patrick Reason, Faith Ringgold, Jean Rousseau, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Addison Scurlock, Lorna Simpson, Merton D. Smith, Thelma Streat, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Dox Thrash, James Vanderzee, Christian Walker, William W.

Walker, Eugene Warburg, Charles White, Pat Ward Williams, Walter J. African American Museum in Philadelphia. As We See It: Selected Works from the Petrucci Family Foundation Collection of African American Art. Group exhibition of an important mostly mid-Atlantic collection. Bannister, Dawoud Bey, Camille Billops, Berrisford Boothe, James Brantley, Moe Brooker, Barbara Bullock, Margaret Burroughs, Charles Burwell, Donald E.

Camp, Elizabeth Catlett, Kevin Cole, Allan Rohan Crite, James Dupree, David C. Driskell, Allan Edmunds, Sam Gilliam, Curlee Holton, Ed Hughes, Martina Johnson-Allen, Paul Keene, Beni E. Kosh, Deryl Mackie, Richard Mayhew, Sam Middleton, Charles Sallee, Sterling Shaw, Mei Tei-Sing Smith, Louis Sloan, Nelson Stevens, Charles Searles, Henry Ossawa Tanner, Dox Thrash, Richard J. Represent: 200 Years of African American Art. Powell, thematic essays by Gwendolyn DuBois Shaw. Highlights over 150 objects in the museum's collection, whereas the exhibition packed into an overly small room included only 75 works by a meager 50 artists, including: Moses Williams, Dawoud Bey, Moe Brooker, Samuel J. Brown, Donald Camp, Elizabeth Catlett, Roy DeCarava, Beauford Delaney, Aaron Douglas, John Dowell, Jr. David Drake (Dave the Potter), Sam Gilliam, Barkley L. Hendricks, Peter Hill, William H. Johnson, Jacob Lawrence, Glenn Ligon, Odili Donald Odita, Barbara Chase-Riboud, Gordon Parks, Jerry Pinkney, Horace Pippin, Martin Puryear, Faith Ringgold, Alison Saar, Joyce J.

Scott, Lorna Simpson, Henry Ossawa Tanner, Alma Thomas, Bob Thompson, Dox Thrash, Bill Traylor, James Vanderzee, Kara Walker, Carrie Mae Weems, and John Wilson. [Review: Philip Kennicott, The Washington Post, January 14, 2015;] 4to 12.2 x 9.8 in. Silver Eye Center for Photography. New Portraits: Dawoud Bey and Judith Black. Entry in AFRICANA: The Encyclopeida of the African and African American Experience Ed.

Oxford University Press; April 2005. Includes mention of: Scipio Moorhead, Joshua Johnson, Patrick Reason, William Simpson, Robert Douglass, Daniel and Eugene Warburg, Edmonia Lewis, Robert S. Bannister, William Harper, Henry Ossawa Tanner, Harriet Powers, Edwin A. Harleston, Isaac Scott Hathaway, May Howard Jackson, John Henry Adams, Jr.

Meta Warrick Fuller, Palmer C. Hayden, Malvin Gray Johnson, Laura Wheeler Waring, Richmond Barthé, Sargent Johnson, Augusta Savage, Archibald J. Allan Rohan Crite, Ernest Crichlow, Dox Thrash, William Edmondson, Jacob Lawrence, Horace Pippin, William H. Johnson, Charles Sebree, Eldzier Cortor, Hughie-Lee Smith, Charles White, Minnie Evans, James Hampton, Bob Thompson, Romare Bearden, Murry N. DePillars, Ben Jones, Dana Chandler, Jeff Donaldson, Lois Mailou Jones, John T. Biggers, Elizabeth Catlett, Frank Bowling, Sam Gilliam, Richard Hunt, Barbara Chase-Riboud, Raymond Saunders, Alma Thomas, Al Loving, Ed Clark, Joe Overstreet, Jack Whitten, William T.

Williams, Clementine Hunter, Sister Gertrude Morgan, Barkley L. Hendricks, Ernie Barnes, Benny Andrews, Betye Saar, (David Driskell, Samella Lewis and Ruth Waddy - as curators), David Hammons, Robert Colescott, Houston Conwill, Alison Saar, Renée Stout, Albert Chong, Lyle Ashton Harris, Jean-Michel Basquiat, Glenn Ligon, Lorna Simpson, Dawoud Bey, Renée Cox, Lorraine O'Grady, Kerry James Marshall, Howardena Pindell, Gary Simmons, Kara Walker, and Fred Wilson.

Black Art and Culture in the 20th Century. New York: Thames and Hudson, 1997.

(including 31 in color), biog. Black Art: A Cultural History.

London: Thames & Hudson, 2002. Including 39 in color, biog.

Revised and slightly enlarged from 1997 edition. Cutting a Figure: Fashioning Black Portraiture. Chicago: University of Chicago Press, 2008. (43 in color), notes, bibliog.

Substantial chapter devoted to Barkley L. Hendricks; discussion of the self-portrait photographs of Lyle Ashton Harris and Renée Cox; extensive discussion of African American fashion model Donyale Luna, and brief mention of nearly 70 other African and African American artists.

8vo 25 x 23 cm. Photos by Dawoud Bey and Eli Reed. Focuses on stories about real people in neighborhoods where people are taking risks and overcoming social, personal, and economic differences to improve their local environment and transform their own lives.

CD contains the testimony in the hero's own voice. The Human Touch: Selections from the RBC Dain Rauscher Art Collection.

October 20, 2006-January 7, 2007. Included: Radcliffe Bailey, José Bedia, Dawoud Bey, Kerry James Marshall, Kehinde Wiley, Carrie Mae Weems. All works loaned by RBC Wealth Management. Traveled to: Rochester Art Center, Rochester, MN, 2007; Redline Gallery, Denver, CO, October 18-December 23, 2013. University Art Gallery, San Diego State University.

Included Dawoud Bey, Lorraine O'Grady. Traveled to Fullerton Museum Art Gallery, Fullerton, CA. Jewish Museum of San Francisco.

October 22, 2006-April 29, 2007. Group exhibition of 12 emerging and mid-career artists; interviews with artists by Joanna Lindenbaum; texts by Susan Chevlowe and Ilan Stavans.

4to 11.5 x 10.1 in. Museum of the African Diaspora.

Portraits and Other Likenesses from SFMOMA. Included: Njideka Akunyili, Dawoud Bey, Nick Cave, Glenn Ligon.

October 3, 2003-January 4, 2004. 24 color plates, 2 b&w historical photos, biogs. Texts by Kim Curry-Evans, Dr.

Includes: Emma Amos, Benny Andrews, Radcliffe Bailey, Dawoud Bey, Milton Bowens, Mark Bradford, Sonya Clark, Tina Dunkley, Bill Gaskins, Kojo Griffin, David Hammons, Barkley L. Hendricks, Jacob Lawrence, Cathleen Lewis, Stephen Marc, Kerry James Marshall, Beverly McIver, Kori Newkirk, Gordon Parks, Nadine Robinson, Alison Saar, Lorna Simpson, Joe Willie Smith, James Vanderzee, Cynthia Wiggins, Kehinde Wiley, Deborah Willis.

Traveled to: Clark Atlanta University Galleries, Atlanta, GA, February 1-April 10, 2004; Chicago Cultural Center, Chicago, IL, May 4-July 3, 2004; Museum of the African Diaspora, San Francisco, CA, January-March, 2005; Contemporary Arts Center, New Orleans, LA April 16-June 19, 2005; Forty Acres Art Gallery, Sacramento, CA, June-August, 2005; Crocker Art Museum, Sacramento, CA, July 9-September 11, 2005. An American Legacy: Art from the Studio Museum.

Group exhibition of 85 works Curated by Thelma Golden. Included: James Vanderzee, Terry Adkins, Charles Alston, Dawoud Bey, Willie Cole, Beauford Delaney, Melvin Edwards, David Hammons, Norman Lewis, Glenn Ligon, Al Loving, Kerry James Marshall, Sam Middleton, Wangechi Mutu, Odili Donald Odita, Martin Puryear, Betye Saar, Alma Thomas, Kara Walker, Nari Ward, Jack Whitten, et al. Harrison "Out of Harlem Comes a Vibrant Chronicle, " NYT, April 27, 2003. As American As: 100 Works from the Collection of the Parrish Art Museum. Included: Dawoud Bey, Hughie Lee-Smith.

Review: Phyllis Braff, NYT, August 22, 1999. Representing: A show of Identities. Curated by Katherine Gass and Ingrid Schaffner. Included: Dawoud Bey, Kerry James Marshall.

Other Ways, Other Times: Influences of African-American Tradition from St. Included: Radcliffe Bailey, Jean Michel Basquiat, Dawoud Bey, Beauford Delaney, Ellen Gallagher, Rashid Johnson, Glenn Ligon, Lorna Simpson, Mose Tolliver, Kara Walker, Kehinde Wiley, and others. Whitney Museum of American Art at Champion. Newhouse Center for Contemporary Art, Snug Harbor Cultural Center.

Through the Looking Glass: Visions of Childhood. New Jersey Center for Visuals Arts.

Included: Dawoud Bey, Lezley Saar. Contact Sheet 124: Embracing Eatonville: A Photographic Survey by Dawoud Bey, Lonnie Graham, Carrie Mae Weems, Deborah Willis. (30 full-page, most in color), plus 1 text illus.

By Jeffrey Hoone; text by Franklin Sirmans; afterword by N. Re-exhibited at Light Work February 1-May 29, 2009 concurrent with limited edition reissue of this portfolio of photographs. 8vo 8.5 x 8 in. Contact Sheet 97: Twenty Fifth Anniversary Edition. Over 275 photographs made by artists who have participated in Light Work's programs since 1973.

Text: Jeffrey Hoone, Gary Nickard, Deborah Willis, Marilyn Nance and Gary Hesse. Artists include: Jules Allen, Dawoud Bey, Hilton Braithwaite, Albert Chong, Kerry Stuart Coppin, Renée Cox, Gerald Cyrus, Lydia Ann Douglas, Lou Draper, Bill Gaskins, Tyrone Georgiou, Tony Gleaton, Willie Middlebrook, Marilyn Nance, Keith Piper, Fazal Sheikh, Clarissa Sligh, Maxine Walker, Carrie Mae Weems, Deborah Willis, et al. Menschel Photography Gallery, Syracuse University.

En Foco/In Focus: Selected Works from the Permanent Collection. September 1, 2011-January 31, 2012. Group exhibition of 56 prints by 49 artists. Included: Dawoud Bey, Terry Boddie, Samantha Box, Gerald Cyrus, Lola Flash, Myra Greene, Stephen Marc, Juan Sanchez, Hank Willis Thomas, Wendel A.

[Traveled to: CIS Main Building, San Francisco, CA, January 22-March 24, 2013,]. Collecting African American Art: Works on Paper and Canvas. 150 color plates, brief bibliog. Index, appendices of art and photo dealers, museums and other resources. Forewords by Dierdre Bibby and Samella Lewis.

Text consists of a few sentences at best on most of the hundreds of listed artists. Numerous typos and other errors and misinformation throughout.

Tokyo Metropolitan Museum of Photography. American Perspectives: Photographs from the Polaroid Collection. A selection of 162 works by 77 artists from the Polaroid Collection. Curated by Michiko Kasahara with the assistance of Barbara Hitchcock. Included: Dawoud Bey, Maria Magdalena Campos-Pons, Tyrone Georgiou, Lorna Simpson, Carrie Mae Weems.

Krannert Art Museum, University of Illinois at Urbana-Champaign. Social Studies: Eight Artists Address Brown v. Traveling exhibition presenting the viewpoints of eight contemporary artists on the 50th anniversary of the landmark school desegregation case.

Dawoud Bey, Sanford Biggers, Brett Cook-Dizney, Gary Simmons, Carrie Mae Weems. This is the third exhibition organized by Social Studies Projects, a non-profit organization under the direction of Carrie Mae Weems that seeks to address important social and political issues through visual art. Traveled to: Spencer Art Museum, University of Kansas, Lawrence, KS, October 9-December 5, 2004. Black Cool: One Thousand Streams of Blackness. Berkeley: Soft Skull Press, 2012.

Foreword by Henry Louis Gates. Includes texts by photographers Dawoud Bey, Hank Willis Thomas and graphic novelist Mat Johnson. 8vo 8.2 x 5.6 in. Howard University Gallery of Art. Mixing Metaphors: The Aesthetic, the Social and the Political in African American Art.

Curated by Deborah Willis - a selection from the Bank of America collection. 94 photographs, paintings, prints, drawings, sculpture and mixed media executed by 37 artists ranging from range from photographers Ernest C. Withers, Robert Sengstacke, Jamel Shabazz, Lorna Simpson, Chuck Stewart, Gordon Parks, Dawoud Bey, Carrie Mae Weems, and James VanDerZee to Henry Clay Anderson, Benny Andrews, Romare Bearden, John Biggers, Willie Birch, Beverly Buchanan, Walter Cade, Kevin E. Cole, Robert Colescott, Allan Rohan Crite, Allan Edmunds, Lawrence Finney, Sam Gilliam, Earlie Hudnall, Margo Humphrey, Jacob Lawrence.

Willie Little, Juan Logan, Whitfield Lovell, Julie Mehretu, Martin Puryear, Faith Ringgold, Mario A. Robinson, Raymond Saunders, Leo Twiggs, James W. Traveled to: The Jimmy Carter Presidential Library & Museum, Atlanta, GA, March 19-July 31, 2011. Portraiture Now: Series 1: William Beckman, Dawoud Bey, Nina Levy, Jason Salavon Andres Serrano. July 1, 2006-January 7, 2007. Washington Project for the Arts. The Blues Aesthetic: Black Culture and Modernism. Exhibition catalogue, 19 color plates, 34 b&w illus. Powell; texts by John Cephas, Dwight D. Vlach, Kellie Jones, Sherril Berryman-Miller, Jeffrey Stewart, Joseph A. Many white artists are included in the exhibition as "kindred spirits" and given a disproportionately high number of the few color plates without any satisfactory textual justification. African American artists included: Billy Fundi Abernathy, Terry Adkins, Candida Alvarez, Anthony Barboza, Jean Michel Basquiat, Romare Bearden, Frederick Becker, Dawoud Bey, John Biggers, Camille Billops, Willie Birch, Roy DeCarava, Robert Colescott, Houston Conwill, Sarah Covington (discussed in text only), Aaron Douglas, Melvin Edwards, Mikki Ferrill, Roland Freeman, Sam Gilliam, Margo Humphrey, Martha Jackson-Jarvis, William H. Johnson, Jacob Lawrence, Norman Lewis, Roy Lewis, Bert Long, Keith Morrison, Archibald Motley, Joe Overstreet, Alison Saar, Coreen Simpson, Beuford Smith, Frank Stewart, Bob Thompson; videos by Lawrence Andrews, Tony Cokes and Philip Mallory Jones. Traveled to: California African American Museum, Los Angeles, CA; Duke University Museum of Art, Durham, NC; Blaffer Gallery, University of Houston, Houston, TX; Studio Museum in Harlem, New York, NY. Davis Museum and Cultural Center, Wellesley Collage. Consuming Passions: Photography and The Object. The Family of Black America. Photographers include: James Vanderzee, Richard Samuel Roberts, Radcliffe Bailey, Dawoud Bey, Roland Charles, Marvin Edwards, Roland Freeman, Lonnie Graham, Chester Higgins, Jr. Lou Jones, Winston Kennedy, William E. Lathan, Stephen Marc, John W. Mosley, Jeanne Moutoussamy-Ashe, Gordon Parks, John Pinderhughes, Eugene Roquemore, David "Oggi" Ogburn, Mei Tei Sing Smith, Hank Sloane Thomas (aka Hank Willis Thomas), Lester Sloan, Jeffrey Henson Scales, Accra Shepp, Moneta Sleet, Jr.

Clarissa Sligh, Ron Tarver, Carrie Mae Weems, Robert Whitby, Wendel A. White, Juanita Williams, Mel Wright. The most comprehensive list of Black photographers to date, with brief biographical entries on many artists and a few bibliographical entries on approximately half of the hundreds of names.

Artists discussed include: Salimah Ali, Omobowale Ayorinde, J. Edward Bailey, III, Anthony Barboza, Donnamarie Barnes, Vanessa Barnes Hillian, Fay D. Bellamy, Lisa Bellamy, Dawoud Bey, Hart Leroy Bibbs, Bonnie Brisset, Barbara Brown, Lisa Brown, Millie Burns, Muriel Agatha Fortune Bush, Cynthia D.

Cole, Juanita Cole, Cary Beth Cryor, Tere L. Cuesta, Fikisha Cumbo, Phyllis Cunningham, Pat Davis, Carmen DeJesus, Lydia Ann Douglas, Barbara Dumetz, Joan Eda, Sharon Farmer, Phoebe Farris, Valeria "Mikki" Ferrill, Collette V. Freeman, Rennie George, Bernadette F. Gibson, Anthony Gleaton, Dorothy Gloster, Lydia Hale-Hammond, Gail Adelle Hansberry, Inge Hardison, Teenie Harris, Madeleine Hill, Zebonia Hood, Vera Jackson, Louise Jefferson, Michelle M. Jeffries, Brent Jones, Brian V.

Jones, Julia Jones, Kenneth G. Jones, Leah Jaynes Karp, Irene C. Kellogg, Lucius King, Romulo Lachatanere, Allie Sharon Larkin, George Larkins, Archy La Salle, Abe C.

Lavalais, Joyce Lee, Sa'Longo J. Lewis, Harvey James Lewis, Matthew Lewis, Roy Lewis, Fern Logan, Edie Lynch, Peter Magubane, Jimmie Mannas, Louise Martin, Mickey Mathis, Carroll T. Maynard, Rhashidah Elaine McNeill, Marlene Montoute, Michelle Morgan, Jeanne Moutoussamy-Ashe, Marilyn Nance, Yvonne Payne, Patricia Phipps, Ellen Queen, Phillda Ragland, Arkili-Casundria Ramsess, Odetta Rogers, Veronica Saddler, Lloyd Saunders, Cheryl Shackelton, Victoria Simmons, Coreen Simpson, Lorna Simpson, Clarissa T. Sligh, Ming Smith, Toni Smith, Charlynn Spencer Pyne, Jo Moore Stewart, Celeste P. Stokes, Elisabeth Sunday, Elaine Tomlin, Sandra Turner-Bond, Jacqueline La Vetta Van Sertima, Dixie Vereen, William Onikwa Wallace, Sharon Watson-Mauro, Carrie Mae Weems, Dolores West, Judith C.

White, Elizabeth "Tex" Williams, Lucy Williams, Pat Ward Williams, Deborah Willis, Carol R. Wilson, Jonni Mae Wingard, Ernest Withers, and many, many others. Not all listed in this description, but all individual photographers are cross-listed.

Large stout 4to, pictorial boards, no d. Reflections in Black: A History of Black Photographers 1840 to the Present. 81 color plates, 487 b&w illus.

Published to accompany the three-part traveling exhibition organized by the Smithsonian Institution. Important gathering of photographs of Black subjects by African American photographers from mid-nineteenth century through the present (roughly half from 1980s and 90s) by the pre-eminent historian of this subject. Photographers include: O'Neal Abel, Salima Ali, James Lattimer Allen, Winifred Hall Allen, Amalia Amaki, Linda L. Ashton, Thomas Askew, John B. Bailey, James Presley Ball, Sr.

Thomas Ball, Anthony Barboza, Cornelius M. Battey, Anthony Beale, Arthur P. Bedou, Donald Bernard, Dawoud Bey, Howard Bingham, Caroll Parrott Blue, Terry Boddie, Rick Bolton, St.

Calhoun, Dennis Callwood, Don Camp, Roland Charles, Albert Chong, Carl Clark, Linda Day Clark, Allen Edward Cole, Florestine Perrault Collins, Herbert Collins, Adger Cowans, Renée Cox, Cary Beth Cryor, Steven Cummings, Gerald G. Daniel Dawson, Roy DeCarava, Doris Derby, Stephanie Dinkins, Lou Draper, George Durr, Nekisha Durrett, Edward (Eddie) Eleha, Darrel Ellis, Jonathan Eubanks, Delphine A. Fawundu, Alfred Fayemi, Jeffrey Fearing, Joe Flowers, Collette Fournier, Jack T. Franklin, Elnora Frazier, Daniel Freeman, Roland L. Freeman, King Daniel Ganaway, Bill Gaskins, Glenalvin Goodridge, Wallace Goodridge, William Goodridge, Bob Gore, Lonnie Graham, Todd Gray, Camille Gustus, Robert Haggins, Austin Hansen, Edwin Harleston, Elise Forrest Harleston, Charles "Teenie" Harris, Doug Harris, Joe Harris, Lyle Ashton Harris, Thomas Allen Harris, Lucius Henderson, Craig Herndon, Leroy Henderson, Calvin Hicks, Chester Higgins, Jr.

Milton Hinton, Raymond Holman, Earlie Hudnall, Jr. Curtis Humphrey, Reginald Jackson, Chris Johnson, Brent Jones, Kenneth George Jones, Lou Jones, Benny Joseph, Kamoinge Workshop, Perry A.

Kelly, Roshini Kempadoo, Winston Kennedy, Keba Konte, Andree Lambertson, Bill Lathan, Carl E. Lindo, Harlee Little, Fern Logan, Stephen Marc, Lynn Marshall-Linnemeier, Charles Martin, Louise Ozell Martin, Chandra McCormick, Robert H. McNeill, Bertrand Miles, Cheryl Miller, Robert (Bob) Moore, John W. Mosley, Jeanne Moutoussamy-Ashe, Ming Smith Murray (as Ming Smith), Mansa Mussa, Marilyn Nance, Sunny Nash, Constance Newman, David Ogburn, G.

Dwoyid Olmstead, Kambui Olujimi, Villard Paddio, Gordon Parks, D. Pearson, Moira Pernambuco, Bonnie Phillips, John Pinderhughes, P.

Polk, Paul Poole, Carl R. Pope, Marion James Porter, Sheila Pree, Eli Reed, Richard Roberts, Wilhelmina Williams Roberts, Orville Robertson, Herb Robinson, Eugene Roquemore, Susan J.

Ross, Ken Royster, Jeffery St. Mary, Richard Saunders, Jeffrey Scales, Addison L.

Sengstacke, Harry Shepherd, Accra Shepp, Carl Sidle, Coreen Simpson, Lorna Simpson, Moneta Sleet, Clarissa Sligh, Beuford Smith, Marvin Smith, Morgan Smith, Frank Stallings, Charles (Chuck) Stewart, Gerald Straw, Ron Tarver, Hank Willis Thomas, Elaine Tomlin, June DeLairre Truesdale, Sheila Turner, Richard Aloysius Twine, James Vanderzee, Vincent Alan W. Walker, Augustus Washington, Lewis Watts, Carrie Mae Weems, Ellie Lee Weems, Jean Weisinger, Edward West, Wendel A. White, Cynthia Wiggins, Carlton Wilkinson, Carla Williams, Charles Williams, Milton Williams, Pat Ward Williams, William Earle Williams, Ernest C. Center for Photography at Woodstock. Fresh: Youth Culture in Contemporary Photographs. Curated by Nancy Barr & Carlo McCormick. Included: Dawoud Bey, Dennis Olanzo Callwood. Dawoud Bey (born 1953) is an American photographer and educator renowned for his large-scale color portraits of adolescents and other often marginalized subjects. In 2017, Bey was the recipient of a "Genius Grant" from the John D. Born David Edward Smikle in New York City's Jamaica, Queens neighborhood, he changed his name to Dawoud Bey in the early 1970s.

He studied at the School of Visual Arts in New York from 197778, graduated with a BFA in Photography from Empire State College in 1990, and received his MFA from Yale University School of Art in 1993. Over the course of his career, Bey has participated in more than 20 artist residencies, which have allowed him to work directly with the adolescent subjects of his most recent work. A product of the 1960s, Dawoud Bey said both he and his work are products of the attitude, if youre not part of the solution, youre part of the problem. This philosophy significantly influenced his artistic practice and resulted in a way of working that is both community-focused and collaborative in nature.

Beys earliest photographs, in the style of street photography, evolved into a seminal five-year project documenting the everyday life and people of Harlem in Harlem USA (19751979) that was exhibited at the Studio Museum in Harlem in 1979. In 2012, the Art Institute of Chicago mounted the first complete showing of the Harlem, USA' photographs since that original exhibition, adding several never before printed photographs to the original group of twenty-five vintage prints.

The complete group of photographs were acquired at that time by the AIC. Of his work with teenagers Bey has said, My interest in young people has to do with the fact that they are the arbiters of style in the community; their appearance speaks most strongly of how a community of people defines themselves at a particular historical moment. During a residency at the Addison Gallery of American Art in 1992, Bey began photographing students from a variety of high schools both public and private, in an effort to reach across lines of presumed differences among the students and communities. This new direction in his work guided Bey for the next fifteen years, including two additional residencies at the Addison, an ample number of similar projects across the country, and culminated in a major 2007 exhibition and publication of portraits of teenagers organized by Aperture and entitled Class Pictures.

Alongside each of the photographs in Class Pictures, is a personal statement written by each subject. This rich combination of image and text expands the notion of the photographic portrait, and further creates portraits that are each incredibly powerful in its amalgamation, at times surprising, disturbing, and heart-wrenching. Currently living in Chicago, Illinois Bey is a professor of art and Distinguished College Artist at Columbia College Chicago, and is represented by Mary Boone Gallery (NYC), Rena Bransten Gallery (San Francisco), and Stephen Daiter Gallery (Chicago). Bey was the recipient of an artist fellowship at Creative Artists Public Service (CAPS), New York in 1983, an artist fellowship from the New York Foundation for the Arts in 1986, a regional fellowship form the National Endowment for the Arts in 1991, and the John Simon Guggenheim Memorial Foundation Fellowship in 2002.

His most recently completed work "The Birmingham Project" commemorates the six young African Americans killed in Birmingham, AL on September 15, 1963. The exhibition opened at the Birmingham Museum of Art in September 2013, fifty years after that tragic day. The exhibition will open at George Eastman House, International Museum of Photography and Film in 2016. He studied at the School of Visual Arts in New York from 197778, graduated with a BFA in Photography from Empire State College in 1990, and received his MFA from Yale University School of Artin 1993. [4] During a residency at the Addison Gallery of American Art in 1992, Bey began photographing students from a variety of high schools both public and private, in an effort to reach across lines of presumed differences among the students and communities.

[5] This new direction in his work guided Bey for the next fifteen years, including two additional residencies at the Addison, an ample number of similar projects across the country, and culminated in a major 2007 exhibition and publication of portraits of teenagers organized by Aperture and entitled Class Pictures. Civic / economic groups[show].

African-American art is a broad term describing the visual arts of the American black community (African Americans). Influenced by various cultural traditions, including those of Africa, Europe and the Americas, traditional African-American art forms include the range of plastic arts, from basket weaving, pottery, and quilting to woodcarving and painting. Pre-colonial, Antebellum and Civil War eras. The Harlem Renaissance to contemporary art.

This is the carved powder horn by carver John Bush from around 1754. Harriet Powers, Bible quilt, Mixed Media. Prior to the 20th century, African-American art existed during the French and Indian War. John Bush was a powder horn carver and soldier with the Massachusetts militia fighting with the British. His work has toured throughout Canada and the US. [1][2] His powder horn of 1756 has been part of a travelling exhibition throughout Canada and US. [3][4] Art continued in subsequent slave communities, through the end of the 20th century, African-American art has made a vital contribution to the art of the United States. [5] During the period between the 17th century and the early 19th century art took the form of small drums, quilts, wrought-iron figures and ceramic vessels in the southern United States; these artifacts have similarities with comparable crafts in West and Central Africa. In contrast, black artisans like the New Englandbased engraver Scipio Moorhead and the Baltimore portrait painter Joshua Johnson created art that was conceived in a western European fashion for their local markets. Many of Africas most skilled artisans were enslaved in the Americas, while others learned their trades or crafts as apprentices to African or white skilled workers.

It was often the practice for slave owners to hire out skilled artisans. Reason, Joshua Johnson, and Scipio Moorhead were among the earliest known portrait artists, from the period of 17731887. Patronage by some white families allowed for private tutorship in special cases. Many of these sponsoring whites were abolitionists.

The artists received more encouragement and were better able to support themselves in cities, of which there were more in the North and border states. Harriet Powers (18371910) was an African-American folk artist and quilt maker from rural Georgia, United States, born into slavery.

Now nationally recognized for her quilts, she used traditional appliqué techniques to record local legends, Bible stories, and astronomical events on her quilts. Only two of her late quilts have survived: Bible Quilt 1886 and Bible Quilt 1898.

Her quilts are considered among the finest examples of 19th-century Southern quilting. Like Powers, the women of Gee's Bend developed a distinctive, bold, and sophisticated quilting style based on traditional American (and African-American) quilts, but with a geometric simplicity. Although widely separated by geography, they have qualities reminiscent of Amish quilts and modern art. The women of Gee's Bend passed their skills and aesthetic down through at least six generations to the present. [10] At one time scholars believed slaves sometimes utilized quilt blocks to alert other slaves about escape plans during the time of the Underground Railroad, [11] but most historians do not agree.

Quilting remains alive as form of artistic expression in the African-American community. After the Civil War, it became increasingly acceptable for African American-created works to be exhibited in museums, and artists increasingly produced works for this purpose. These were works mostly in the European romantic and classical traditions of landscapes and portraits. Edward Mitchell Bannister, Henry Ossawa Tanner and Edmonia Lewis are the most notable of this time. Others include Grafton Tyler Brown, Nelson A.

Primus and Meta Vaux Warrick Fuller. The goal of widespread recognition across racial boundaries was first eased within America's big cities, including Philadelphia, Boston, Chicago, New York, and New Orleans. Even in these places, however, there were discriminatory limitations. Abroad, however, African Americans were much better received. In Europe especially Paris, France these artists could express much more freedom in experimentation and education concerning techniques outside traditional western art.

Freedom of expression was much more prevalent in Paris as well as Munich and Rome to a lesser extent. Sand Dunes at Sunset, Atlantic City by Henry Ossawa Tanner is in the collection of the White House, and hangs in the Green Room.

Acquired during the Clinton administration with funds from the White House Acquisition Trust, it is the first artwork in the White House by an African American. The Harlem Renaissance was one of the most notable movements in African-American art. Certain freedoms and ideas that were already widespread in many parts of the world at the time had begun to spread into the artistic communities United States during the 1920s. During this period notable artists included Richmond Barthé, Aaron Douglas, Lawrence Harris, Palmer Hayden, William H.

Johnson, Sargent Johnson, John T. Biggers, Earle Wilton Richardson, Malvin Gray Johnson, Archibald Motley, Augusta Savage, Hale Woodruff, and photographer James Van Der Zee. The establishment of the Harmon Foundation by art patron William E.

Harmon in 1922 sponsored many artists through its Harmon Award and annual exhibitions. As it did with many such endeavors, the 1929 Great Depression largely ended funding for the arts for a time. While the Harmon Foundation still existed in this period, its financial support toward artists ended. The Harmon Foundation, however, continued supporting artists until 1967 by mounting exhibitions and offering funding for developing artists such as Jacob Lawrence. Midnight Golfer by Eugene J.

Martin, mixed media collage on rag paper. Kara Walker, Cut, Cut paper and adhesive on wall, Brent Sikkema NYC. The US Treasury Department's Public Works of Art Project ineffectively attempted to provide support for artists in 1933. In 1935, President Franklin D. Roosevelt created the Works Progress Administration (WPA).

The WPA provided for all American artists and proved especially helpful to African-American artists. Artists and writers both gained work that helped them survive the Depression. Among them were Jacob Lawrence and Richard Wright. Politics, human and social conditions all became the subjects of accepted art forms.

Important cities with significant black populations and important African-American art circles included Philadelphia, Boston, San Francisco and Washington, D. The WPA led to a new wave of important black art professors. Mixed media, abstract art, cubism, and social realism became not only acceptable, but desirable. Artists of the WPA united to form the 1935 Harlem Artists Guild, which developed community art facilities in major cities.

Leading forms of art included drawing, sculpture, printmaking, painting, pottery, quilting, weaving and photography. By 1939, the costly WPA and its projects all were terminated. Porter, a professor in the Department of Art at Howard University, wrote the first major text on African-American art and artists, Modern Negro Art. In the 1950s and 1960s, few African-American artists were widely known or accepted. Despite this, The Highwaymen, a loose association of 26 African-American artists from Fort Pierce, Florida, created idyllic, quickly realized images of the Florida landscape and peddled some 200,000 of them from the trunks of their cars.

Rediscovered in the mid-1990s, today they are recognized as an important part of American folk history. The current market price for an original Highwaymen painting can easily bring in thousands of dollars. In 2004 the original group of 26 Highwaymen were inducted into the Florida Artists Hall of Fame. [16] Currently 8 of the 26 are deceased, including A. Newton, Ellis and George Buckner, A.

Roberts, Hezekiah Baker and most recently Johnny Daniels. The full list of 26 can be found in the Florida Artists Hall of Fame, as well as various highwaymen and Florida art websites. Jerry Harris, Dogon mother and child, constructed and carved wood with found objects, laminated clay (Bondo), and wooden dowels. After the Second World War, some artists took a global approach, working and exhibiting abroad, in Paris, and as the decade wore on, relocated gradually in other welcoming cities such as Copenhagen, Amsterdam, and Stockholm: Barbara Chase-Riboud, Edward Clark, Harvey Cropper, Beauford Delaney, Herbert Gentry, [17] Bill Hutson, Clifford Jackson, [18] Sam Middleton, [19] Larry Potter, Haywood Bill Rivers, Merton Simpson, and Walter Williams.

Some African-American artists did make it into important New York galleries by the 1950s and 1960s: Horace Pippin, Romare Bearden, Jacob Lawrence, William T. Williams, Norman Lewis, Thomas Sills, [22] and Sam Gilliam were among the few who had successfully been received in a gallery setting. The Civil Rights Movement of the 1960s and 1970s led artists to capture and express the times and changes.

Galleries and community art centers developed for the purpose of displaying African-American art, and collegiate teaching positions were created by and for African-American artists. Some African-American women were also active in the feminist art movement in the 1970s. Faith Ringgold made work that featured black female subjects and that addressed the conjunction of racism and sexism in the U. While the collective Where We At (WWA) held exhibitions exclusively featuring the artwork of African-American women. By the 1980s and 1990s, hip-hop graffiti became predominate in urban communities.

Most major cities had developed museums devoted to African-American artists. The National Endowment for the Arts provided increasing support for these artists. Important collections of African-American art include the Walter O. Evans Collection of African American Art, the Paul R.

Jones collections at the University of Delaware and University of Alabama, the David C. Driskell Art collection, the Harmon and Harriet Kelley Collection of African American Art, the Schomburg Center for Research in Black Culture, and the Mott-Warsh collection. Kara Walker, a contemporary American artist, is known for her exploration of race, gender, sexuality, violence and identity in her artworks. Walker's silhouette images work to bridge unfinished folklore in the Antebellum South and are reminiscent of the earlier work of Harriet Powers. Her nightmarish yet fantastical images incorporate a cinematic feel.

In 2007, Walker was listed among Time Magazine's "100 Most Influential People in The World, Artists and Entertainers". Textile artists are part of African-American art history. According to the 2010 Quilting in America industry survey, there are 1.6 million quilters in the United States. Influential contemporary artists include Larry D. Alexander, Laylah Ali, Amalia Amaki, Emma Amos, Jean-Michel Basquiat, Dawoud Bey, Camille Billops, Mark Bradford, Edward Clark, Willie Cole, Robert Colescott, Louis Delsarte, David C.

Driskell, Leonardo Drew, Mel Edwards, Ricardo Francis, Charles Gaines, Ellen Gallagher, Herbert Gentry, Sam Gilliam, David Hammons, Jerry Harris, Joseph Holston, Richard Hunt, Martha Jackson-Jarvis, Katie S. Scott Johnson, Rashid Johnson, Joe Lewis, Glenn Ligon, James Little, Edward L. Loving, Kerry James Marshall, Eugene J. Martin, Richard Mayhew, Sam Middleton, Howard McCalebb, Charles McGill, Thaddeus Mosley, Sana Musasama, Senga Nengudi, Joe Overstreet, Martin Puryear, Adrian Piper, Howardena Pindell, Faith Ringgold, Gale Fulton Ross, Alison Saar, Betye Saar, John Solomon Sandridge, Raymond Saunders, John T.

Scott, Joyce Scott, Gary Simmons, Lorna Simpson, Renee Stout, Kara Walker, Carrie Mae Weems, Stanley Whitney, William T. Williams, Jack Whitten, Fred Wilson, Richard Wyatt, Jr. Richard Yarde, and Purvis Young, Kehinde Wiley, Mickalene Thomas, Barkley Hendricks, Jeff Sonhouse, William Walker, Ellsworth Ausby, Che Baraka, Emmett Wigglesworth, Otto Neals, Dindga McCannon, Terry Dixon (artist), Frederick J. Scipio Moorhead, Portrait of poet Phillis Wheatley, 1773, in the frontispiece to her book Poems on Various Subjects.

Edward Mitchell Bannister, Driving Home the Cows 1881. Harriet Powers, Bible quilt, mixed media, 1886. Henry Ossawa Tanner, Gateway, Tangier, 1912, oil on canvas, 18 7/16" × 15 5/16", St.

Charles Alston, Again The Springboard Of Civilization, 1943 (WWII African American soldier). Terry Adkins (19532014), artist[1]. Mequitta Ahuja (born 1976), painter, installation artist.

Laylah Ali (born 1968), painter. Charles Alston (19071977), painter[2][1]. Amalia Amaki (born 1959), artist. Emma Amos (born 1938), painter[2]. Benny Andrews (19302006), painter[2][1]. Edgar Arceneaux (born 1972), drawing artist. Radcliffe Bailey (born 1968) collage, sculpture[3][4].

Kyle Baker (born 1965), cartoonist. Matt Baker (19211959), comic book artist. James Presley Ball (18251904), photographer. Henry Bannarn (19101965), painter[1].

Edward Mitchell Bannister (18281901), painter[2][1]. Ernie Barnes (19382009), neo-Mannerist artist[2].

Richmond Barthé (19011989), sculptor[2][1]. Jean-Michel Basquiat (19601988), painter[2].

Romare Bearden (19111988), painter[2][1]. Darrin Bell (born 1975), cartoonist. Dawoud Bey (born 1953), photographer[2]. Biggers (19242001), muralist[2][1].

Sanford Biggers (born 1970), interdisciplinary. Gene Bilbrew (19231974), cartoonist and fetish artist. McArthur Binion (born 1946), painter.

Robert Blackburn (19202003), printmaker[2][1]. Betty Blayton (born 1937), painter, printmaker[1].

Chakaia Booker (born 1953), sculptor[2]. Edythe Boone (born 1938), muralist. Charles Boyce (born 1949), cartoonist. Tina Williams Brewer, fiber artist[5]. Michael Bramwell (born 1953), conceptual artist.

Elenora "Rukiya" Brown, doll creator. Beverly Buchanan (born 1940), painter, sculptor[1]. Selma Burke (19001995), sculptor[1]. Calvin Burnett (19212007), book illustrator[1].

Pauline Powell Burns (18721912), painter. Simms Campbell (19061971), cartoonist[1].

Fred Carter (born 1938), cartoonist. Bernie Casey (born 1939), painter[1]. Elizabeth Catlett (19152012), sculptor and printmaker[2][1]. Nick Cave (born 1959), performance artist. Michael Ray Charles (born 1967), painter[2].

Barbara Chase-Riboud (born 1936), sculptor[1]. Jamour Chames (born 1989), painter.

Don Hogan Charles (19382017), photographer. Claude Clark (19152001), painter and printmaker[2]. Edward Clark (born 1926), painter. Sonya Clark (born 1967), textile and multimedia artist. Willie Cole (born 1955), painter[2].

Robert Colescott (19252009), painter[2]. Kennard Copeland (born 1966), ceramic sculptures [2]. Eldzier Cortor (19162015), artist and printmaker[1]. Ernest Crichlow (19142005), social realist artist[1]. Allan Crite (19102007), painter[2] [1].

Emilio Cruz (19382004), painter[2]. Cummings III (born 1938), woodworker. Michael Cummings (born 1945), textile artist. Ulysses Davis (19131990), sculptor[2].

Bing Davis (born 1937), potter and graphic artist[1]. Roy DeCarava (19192009), photographer[2]. Beauford Delaney (19011979), painter[6]. Louis Delsarte (born 1944), artist[1].

J Rodney Dennis[7][8] painter. Terry Dixon (born 1969), painter and multimedia artist. Jeff Donaldson (born 1932), painter and critic. Aaron Douglas (18991979), painter[2][1]. Emory Douglas (born 1943), Black Panther artist. (born 1941), printmaker, etcher, lithographer, and painter. Driskell (born 1931), artist and scholar. Robert Scott Duncanson (18211872), Hudson River School[2][1]. William Edmondson (18741951), folk art sculptor[2][1].

Mel Edwards (born 1937), sculptor[2][1]. Walter Ellison (18991977), painter[2]. Minnie Evans (18921987), folk artist[2] [1].

Meta Vaux Warrick Fuller (18771968), artist[2][1]. Ellen Gallagher (born 1965)[2]. Theaster Gates (born 1973), sculptor, ceramicist, and performance artist. Reginald K (Kevin) Gee (born 1964), painter. Wilda Gerideau-Squires (born 1946), photographer.

Leah Gilliam (born 1967), media artist and filmmaker. Sam Gilliam (born 1933), painter[2] [1]. Gordon (born 1936), printmaker[2]. Billy Graham (19351999), comic book artist.

Lonnie Graham, photographer and installation artist. Deborah Grant (born 1968), painter.

Todd Gray (born 1954), photographer, installation and performance artist. Renee Green (born 1959), installation artist[2]. Mario Gully, comic book artist. Tyree Guyton (born 1955)[2]. Ed Hamilton (born 1947), sculptor. Patrick Earl Hammie (born 1981), painter. David Hammons (born 1943), artist[2]. Trenton Doyle Hancock (born 1974)[2]. Elise Forrest Harleston (18911970), photographer.

Kira Lynn Harris (born 1963), multidisciplinary[10]. John Wesley Hardrick (18911948), painter[2] [1]. Jerry Harris (born 1945), sculptor. Marren Hassenger (born 1947), sculptor, installation, performance[11]. Palmer Hayden (18931973), painter[2][1].

George Herriman (18801944), cartoonist[2]. Alvin Hollingsworth (19282000), illustrator, painter. William Howard (active 19th century), American woodworker and craftsman. Bryce Hudson (born 1979), painter, sculptor[2]. Julien Hudson (18111844), painter, sculptor[2].

David Huffman (born 1963), painter[12]. Richard Hunt (born 1935), sculptor[2][1].

Clementine Hunter (1886/71988), folk artist[2][1]. Steffani Jemison (born 1981), performance artist, video artist. Wadsworth Jarrell (born 1929), painter, sculptor. 1824, portrait painter and folk artist[2][1]. Malvin Gray Johnson (18961934), painter[1].

Rashid Johnson (born 1977), conceptual artist. Sargent Johnson (18881967), sculptor[2] [1]. Lois Mailou Jones (19051998), painter[2][1]. Titus Kaphar (born 1976), painter[13].

Gwendolyn Knight (19142005), artist[1]. Jacob Lawrence (19172000), painter[2][1]. Deana Lawson (born 1979), photographer[14].

Hughie Lee-Smith (19151999), artist[2][1]. Norman Lewis (19091979), painter[2][1]. Glenn Ligon (born 1960), painter[2].

Llanakila, artist, painter, digital illustrator, and digital artist. Whitfield Lovell (born 1960), artist.

Gwendolyn Ann Magee (19432011), artist, quilter[15]. Clarence Major (born 1936), painter. Kerry James Marshall (born 1955), painter[2]. Richard Mayhew (born 1934), Afro-Native American, landscape painter[16]. Valerie Maynard (born 1937), sculptor, printmaker, painter.

Ealy Mays (born 1959), painter. Howard McCalebb (born 1947), artist.

Charles McGee, (born 1924) painter. Charles McGill (born 1964), artist, educator.

Julie Mehretu (born 1970), painter, printmaker. Nicole Miller (born 1982), video artist. Dean Mitchell (born 1957), painter. Scipio Moorhead (active 1770s), painter[1]. Archibald Motley (18911981), painter[2][1]. Lorraine O'Grady (born 1934), conceptual artist.

Turtel Onli (born 1952), cartoonist. John Outterbridge (born 1933), assemblage artist[2][1]. Joe Overstreet (born 1933), artist[1].

Gordon Parks (19122006), photographer, director[2][1]. Cecelia Pedescleaux (born 1945), quilter. Howardena Pindell (born 1943), painter[2]. Jerry Pinkney (born 1939), illustrator[2]. Adrian Piper (born 1948), conceptual artist[2]. Rose Piper (19172005), painter and textile designer[17]. Horace Pippin (18881946), painter[2][1]. Rae Pleasant (born 1985), illustrator[18][19]. Carl Robert Pope (born 1961), photographer[2].

L (born 1955) conceptual artist. Harriet Powers (18371910), folk artist[2]. Martin Puryear (born 1941), sculptor[2][1].

Earle Wilton Richardson (19121935), artist[1]. Faith Ringgold (born 1930), painter[2][1]. Bayeté Ross Smith (born 1976), photographer.

Alison Saar (born 1956), artist[2][1]. Betye Saar (born 1926), artist[2][1]. Charles Sallee (19232006), painter[2][20]. Reginald Sanders (19212001), visual artist.

Augusta Savage (18921962), sculptor[2][1]. Scott (born 1948), sculptor[2]. Lorenzo Scott (born 1934), painter. William Edouard Scott (18841964), painter[2][1]. Charles Sebree (19141985), painter[2][1].

Ed Sherman (born 1945), photographer. Gary Simmons (born 1964), artist. Lorna Simpson (born 1960), artist[2]. William Simpson (18181872), portrait painter[1]. Cauleen Smith (born 1967), filmmaker.

Leslie Smith III (born 1985), painter. Smith (19292003), painter and printmaker[21][22]. Mitchell Squire (born 1958), American installation artist, sculptor and performance artist. Renee Stout (born 1958), artist[2]. Martine Syms (born 1988), artist. Henry Ossawa Tanner (18591937), artist[2][1]. Margaret Taylor-Burroughs (19152010)[2][1]. Alma Thomas (18911978), painter[2] [1].

Hank Willis Thomas (born 1976), photographer. Mickalene Thomas (born 1971), painter and installation artist.

Bob Thompson (19371966), painter[2][1]. Mildred Thompson (19352003), abstract painter, printmaker and sculptor. Dox Thrash (18921962), printmaker, sculptor[2] [1]. Bill Traylor (18561949)[2][1]. Henry Taylor (born 1958) painter.

James Van Der Zee (18861983), photographer[2] [1]. Kara Walker (born 1969), artist[2] [1]. William Walker (19272011), Chicago muralist.

Laura Wheeler Waring (18871948), painter[2][1]. Washington (born 1962), printmaker and counterfeiter. (19082000), painter and sculptor[1]. Carrie Mae Weems (born 1953), photographer[2]. Charles Wilbert White (19181979), muralist[2][1]. Kehinde Wiley (born 1977), painter. Gerald Williams (artist) (Born 1941) painter. Williams (born 1942), painter[1]. Deborah Willis (born 1948), photographer. Ellis Wilson (18991977), painter[2][1].

Fred Wilson (born 1954), conceptual artist. John Woodrow Wilson (19222015), sculptor[2][1]. Hale Woodruff (19001980), painter[2][1]. Joseph Yoakum (18901972), self-taught landscape artist. This article needs additional citations for verification.

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The Black Arts Movement, Black Aesthetics Movement or BAM is the artistic outgrowth of the Black Power movement that was prominent in the 1960s and early 1970s. [1][2][3] Time magazine describes the Black Arts Movement as the single most controversial movement in the history of African-American literature possibly in American literature as a whole.

[4] The Black Arts Repertory Theatre/School (BARTS), founded in Harlem in 1965 by LeRoi Jones (later known as Amiri Baraka) is a key institution of the Black Arts Movement. The movement has been seen as one of the most important times in African-American literature. It inspired black people to establish their own publishing houses, magazines, journals and art institutions.

It led to the creation of African-American Studies programs within universities. [6] The movement was triggered by the assassination of Malcolm X. [7] Among the well-known writers who were involved with the movement are Nikki Giovanni, Sonia Sanchez, Maya Angelou, Hoyt W. [8][9] Although not strictly part of the Movement, other notable African-American writers such as novelists Toni Morrison and Ishmael Reed share some of its artistic and thematic concerns.

Although Reed is neither a movement apologist nor advocate, he said. I think what Black Arts did was inspire a whole lot of Black people to write. Moreover, there would be no multiculturalism movement without Black Arts. Latinos, Asian Americans, and others all say they began writing as a result of the example of the 1960s. Blacks gave the example that you don't have to assimilate. You could do your own thing, get into your own background, your own history, your own tradition and your own culture. I think the challenge is for cultural sovereignty and Black Arts struck a blow for that. BAM influenced the world of literature with the portrayal of different ethnic voices. Before the movement, the literary canon lacked diversity, and the ability to express ideas from the point of view of racial and ethnic minorities, which was not valued by the mainstream at the time. Theatre groups, poetry performances, music and dance were centered on this movement, and therefore African Americans gained social and historical recognition in the area of literature and arts. Due to the agency and credibility given, African Americans were also able to educate others through different types of expressions and media outlets about cultural differences. The most common form of teaching was through poetry reading. African-American performances were used for their own political advertisement, organization, and community issues. The Black Arts Movement was spread by the use of newspaper advertisements. [11] The first major arts movement publication was in 1964. No one was more competent in [the] combination of the experimental and the vernacular than Amiri Baraka, whose volume Black Magic Poetry 19611967 (1969) is one of the finest products of the African-American creative energies of the 1960s. The beginnings of the Black Arts Movement may be traced to 1965, when Amiri Baraka, at that time still known as Leroi Jones, moved uptown to establish the Black Arts Repertory Theatre/School (BARTS) following the assassination of Malcolm X. [4] Rooted in the Nation of Islam, the Black Power Movement and the Civil Rights Movement, the Black Arts Movement grew out of a changing political and cultural climate in which Black artists attempted to create politically engaged work that explored the African American cultural and historical experience.

[4] Black artists and intellectuals such as Baraka made it their project to reject older political, cultural, and artistic traditions. Although the success of sit-ins and public demonstrations of the Black student movement in the 1960s may have "inspired black intellectuals, artists, and political activists to form politicized cultural groups, "[12] many Black Arts activists rejected the non-militant integrational ideologies of the Civil Rights Movement and instead favored those of the Black Liberation Struggle, which emphasized self-determination through self-reliance and Black control of significant businesses, organization, agencies, and institutions. "[13] According to the Academy of American Poets, "African American artists within the movement sought to create politically engaged work that explored the African American cultural and historical experience.

The importance that the movement placed on Black autonomy is apparent through the creation of institutions such as the Black Arts Repertoire Theatre School (BARTS), created in the spring of 1964 by Baraka and other Black artists. The opening of BARTS in New York City often overshadow the growth of other radical Black Arts groups and institutions all over the United States. In fact, transgressional and international networks, those of various Left and nationalist (and Left nationalist) groups and their supports, existed far before the movement gained popularity. [12] Although the creation of BARTS did indeed catalyze the spread of other Black Arts institutions and the Black Arts movement across the nation, it was not solely responsible for the growth of the movement. Although the Black Arts Movement was a time filled with black success and artistic progress, the movement also faced social and racial ridicule.

The leaders and artists involved called for Black Art to define itself and speak for itself from the security of its own institutions. For many of the contemporaries the idea that somehow black people could express themselves through institutions of their own creation and with ideas whose validity was confirmed by their own interests and measures was absurd. While it is easy to assume that the movement began solely in the Northeast, it actually started out as "separate and distinct local initiatives across a wide geographic area, " eventually coming together to form the broader national movement. [12] New York City is often referred to as the "birthplace" of the Black Arts Movement, because it was home to many revolutionary Black artists and activists.

However, the geographical diversity of the movement opposes the misconception that New York (and Harlem, especially) was the primary site of the movement. In its beginning states, the movement came together largely through printed media. Journals such as Liberator, The Crusader, and Freedomways created a national community in which ideology and aesthetics were debated and a wide range of approaches to African-American artistic style and subject displayed. [12] These publications tied communities outside of large Black Arts centers to the movement and gave the general black public access to these sometimes exclusive circles. As a literary movement, Black Arts had its roots in groups such as the Umbra Workshop.

Umbra (1962) was a collective of young Black writers based in Manhattan's Lower East Side; major members were writers Steve Cannon, [15] Tom Dent, Al Haynes, David Henderson, Calvin C. Hernton, Joe Johnson, Norman Pritchard, Lennox Raphael, Ishmael Reed, Lorenzo Thomas, James Thompson, Askia M. Touré (Roland Snellings; also a visual artist), Brenda Walcott, and musician-writer Archie Shepp. Touré, a major shaper of "cultural nationalism, " directly influenced Jones.

Along with Umbra writer Charles Patterson and Charles's brother, William Patterson, Touré joined Jones, Steve Young, and others at BARTS. Umbra, which produced Umbra Magazine, was the first post-civil rights Black literary group to make an impact as radical in the sense of establishing their own voice distinct from, and sometimes at odds with, the prevailing white literary establishment. The attempt to merge a black-oriented activist thrust with a primarily artistic orientation produced a classic split in Umbra between those who wanted to be activists and those who thought of themselves as primarily writers, though to some extent all members shared both views. Black writers have always had to face the issue of whether their work was primarily political or aesthetic.

Moreover, Umbra itself had evolved out of similar circumstances: in 1960 a Black nationalist literary organization, On Guard for Freedom, had been founded on the Lower East Side by Calvin Hicks. Its members included Nannie and Walter Bowe, Harold Cruse (who was then working on The Crisis of the Negro Intellectual, 1967), Tom Dent, Rosa Guy, Joe Johnson, LeRoi Jones, and Sarah E. On Guard was active in a famous protest at the United Nations of the American-sponsored Bay of Pigs Cuban invasion and was active in support of the Congolese liberation leader Patrice Lumumba.

From On Guard, Dent, Johnson, and Walcott along with Hernton, Henderson, and Touré established Umbra. Another formation of black writers at that time was the Harlem Writers Guild, led by John O.

Killens, which included Maya Angelou, Jean Carey Bond, Rosa Guy, and Sarah Wright among others. But the Harlem Writers Guild focused on prose, primarily fiction, which did not have the mass appeal of poetry performed in the dynamic vernacular of the time. Poems could be built around anthems, chants, and political slogans, and thereby used in organizing work, which was not generally the case with novels and short stories. Moreover, the poets could and did publish themselves, whereas greater resources were needed to publish fiction. That Umbra was primarily poetry- and performance-oriented established a significant and classic characteristic of the movement's aesthetics. When Umbra split up, some members, led by Askia Touré and Al Haynes, moved to Harlem in late 1964 and formed the nationalist-oriented Uptown Writers Movement, which included poets Yusef Rahman, Keorapetse "Willie" Kgositsile from South Africa, and Larry Neal. Accompanied by young "New Music" musicians, they performed poetry all over Harlem. Members of this group joined LeRoi Jones in founding BARTS. Jones's move to Harlem was short-lived. , and left BARTS in serious disarray.

BARTS failed but the Black Arts center concept was irrepressible, mainly because the Black Arts movement was so closely aligned with the then-burgeoning Black Power movement. The mid-to-late 1960s was a period of intense revolutionary ferment. Beginning in 1964, rebellions in Harlem and Rochester, New York, initiated four years of long hot summers. Watts, Detroit, Newark, Cleveland, and many other cities went up in flames, culminating in nationwide explosions of resentment and anger following Martin Luther King, Jr.

Nathan Hare, author of The Black Anglo-Saxons (1965), was the founder of 1960s Black Studies. Expelled from Howard University, Hare moved to San Francisco State University, where the battle to establish a Black Studies department was waged during a five-month strike during the 196869 school year. As with the establishment of Black Arts, which included a range of forces, there was broad activity in the Bay Area around Black Studies, including efforts led by poet and professor Sarah Webster Fabio at Merrit College.

The initial thrust of Black Arts ideological development came from the Revolutionary Action Movement (RAM), a national organization with a strong presence in New York City. Both Touré and Neal were members of RAM. After RAM, the major ideological force shaping the Black Arts movement was the US (as opposed to "them") organization led by Maulana Karenga. Also ideologically important was Elijah Muhammad's Chicago-based Nation of Islam.

These three formations provided both style and conceptual direction for Black Arts artists, including those who were not members of these or any other political organization. Although the Black Arts Movement is often considered a New York-based movement, two of its three major forces were located outside New York City. As the movement matured, the two major locations of Black Arts' ideological leadership, particularly for literary work, were California's Bay Area because of the Journal of Black Poetry and The Black Scholar, and the ChicagoDetroit axis because of Negro Digest/Black World and Third World Press in Chicago, and Broadside Press and Naomi Long Madgett's Lotus Press in Detroit. The only major Black Arts literary publications to come out of New York were the short-lived (six issues between 1969 and 1972) Black Theatre magazine, published by the New Lafayette Theatre, and Black Dialogue, which had actually started in San Francisco (196468) and relocated to New York (196972).

Although the journals and writing of the movement greatly characterized its success, the movement placed a great deal of importance on collective oral and performance art. Public collective performances drew a lot of attention to the movement, and it was often easier to get an immediate response from a collective poetry reading, short play, or street performance than it was from individual performances.

The people involved in the Black Arts Movement used the arts as a way to liberate themselves. The movement served as a catalyst for many different ideas and cultures to come alive.

This was a chance for African Americans to express themselves in a way that most would not have expected. In 1967 LeRoi Jones visited Karenga in Los Angeles and became an advocate of Karenga's philosophy of Kawaida. Kawaida, which produced the "Nguzo Saba" (seven principles), Kwanzaa, and an emphasis on African names, was a multifaceted, categorized activist philosophy. Jones also met Bobby Seale and Eldridge Cleaver and worked with a number of the founding members of the Black Panthers. Additionally, Askia Touré was a visiting professor at San Francisco State and was to become a leading (and long-lasting) poet as well as, arguably, the most influential poet-professor in the Black Arts movement.

Playwright Ed Bullins and poet Marvin X had established Black Arts West, and Dingane Joe Goncalves had founded the Journal of Black Poetry (1966). This grouping of Ed Bullins, Dingane Joe Goncalves, LeRoi Jones, Sonia Sanchez, Askia M. Touré, and Marvin X became a major nucleus of Black Arts leadership. As the movement grew, ideological conflicts arose and eventually became too great for the movement to continue to exist as a large, coherent collective. Many discussions of the Black Arts movement posit it as the aesthetic and spiritual sister of the Black Power concept.

[17] The Black Aesthetic refers to ideologies and perspectives of art that center on Black culture and life. This Black Aesthetic encouraged the idea of Black separatism, and in trying to facilitate this, hoped to further strengthen black ideals, solidarity, and creativity.

In his well-known essay on the Black Arts Movement, Larry Neal attests. When we speak of a'Black aesthetic' several things are meant. First, we assume that there is already in existence the basis for such an aesthetic. Essentially, it consists of an African-American cultural tradition. But this aesthetic is finally, by implication, broader than that tradition.

It encompasses most of the usable elements of the Third World culture. The motive behind the Black aesthetic is the destruction of the white thing, the destruction of white ideas, and white ways of looking at the world. Amiri Baraka's poem "Black Art" serves as one of his most controversial, yet poetically profound supplements to the Black Arts Movement. In this piece, Baraka merges politics with art, criticizing poems that are not useful to or adequately representative of the Black struggle.

First published in 1966, a period particularly known for the Civil Rights Movement, the political aspect of this piece underscores the need for a concrete and artistic approach to the realistic nature involving racism and injustice. Serving as the recognized artistic component to and having roots in the Civil Rights Movement, the Black Arts Movement aims to grant a political voice to black artists including poets, dramatists, writers, musicians, etc. Playing a vital role in this movement, Baraka calls out what he considers to be unproductive and assimilatory actions shown by political leaders during the Civil Rights Movement.

He describes prominent Black leaders as being on the steps of the white house... Kneeling between the sheriff's thighs negotiating coolly for his people. [19] Baraka also presents issues of euro-centric mentality, by referring to Elizabeth Taylor as a prototypical model in a society that influences perceptions of beauty, emphasizing its influence on individuals of white and black ancestry.

[19] Baraka aims his message toward the Black community, with the purpose of coalescing African Americans into a unified movement, devoid of white influences. "Black Art" serves as a medium for expression meant to strengthen that solidarity and creativity, in terms of the Black Aesthetic.

Baraka believes poems should "shootcome at you, love what you are" and not succumb to mainstream desires. He ties this approach into the emergence of hip-hop, which he paints as a movement that presents live wordsand live flesh and coursing blood. "[19] Baraka's cathartic structure and aggressive tone are comparable to the beginnings of hip-hop music, which created controversy in the realm of mainstream acceptance, because of its "authentic, un-distilled, unmediated forms of contemporary black urban music. [20] Baraka believes that integration inherently takes away from the legitimacy of having a Black identity and Aesthetic in an anti-Black world.

Through pure and unapologetic blackness, and with the absence of white influences, Baraka believes a black world can be achieved. Though hip-hop has been serving as a recognized salient musical form of the Black Aesthetic, a history of unproductive integration is seen across the spectrum of music, beginning with the emergence of a newly formed narrative in mainstream appeal in the 1950s. Much of Baraka's cynical disillusionment with unproductive integration can be drawn from the 50s, a period of rock and roll, in which "record labels actively sought to have white artists "cover" songs that were popular on the rhythm-and-blues charts"[20] originally performed by African-American artists. The problematic nature of unproductive integration is also exemplified by Run-DMC, an American hip-hop group founded in 1981, who became widely accepted after a calculated collaboration with the rock group Aerosmith on a remake of the latter's "Walk This Way" took place in 1986, evidently appealing to young white audiences. [20] Hip-hop emerged as an evolving genre of music that continuously challenged mainstream acceptance, most notably with the development of rap in the 1990s.

A significant and modern example of this is Ice Cube, a well-known American rapper, songwriter, and actor, who introduced subgenre of hip-hop known as "gangsta rap, " merged social consciousness and political expression with music. With the 1960s serving as a more blatantly racist period of time, Baraka notes the revolutionary nature of hip-hop, grounded in the unmodified expression through art.

This method of expression in music parallels significantly with Baraka's ideals presented in "Black Art, " focusing on poetry that is also productively and politically driven. "The Revolutionary Theatre" is a 1965 essay by Baraka that was an important contribution to the Black Arts Movement, discussing the need for change through literature and theater arts. He says: We will scream and cry, murder, run through the streets in agony, if it means some soul will be moved, moved to actual life understanding of what the world is, and what it ought to be.

Baraka wrote his poetry, drama, fiction and essays in a way that would shock and awaken audiences to the political concerns of black Americans, which says much about what he was doing with this essay. [21] It also did not seem coincidental to him that Malcolm X and John F. Kennedy had been assassinated within a few years, since Baraka believed that every voice of change in America had been murdered, which led to the writing that would come out of the Black Arts Movement. In his essay, Baraka says: The Revolutionary Theatre is shaped by the world, and moves to reshape the world, using as its force the natural force and perpetual vibrations of the mind in the world. We are history and desire, what we are, and what any experience can make us.

With his thought-provoking ideals and references to a euro-centric society, he imposes the notion that black Americans should stray from a white aesthetic in order to find a black identity. In his essay, he says: The popular white man's theatre like the popular white man's novel shows tired white lives, and the problems of eating white sugar, or else it herds bigcaboosed blondes onto huge stages in rhinestones and makes believe they are dancing or singing. " This, having much to do with a white aesthetic, further proves what was popular in society and even what society had as an example of what everyone should aspire to be, like the "bigcaboosed blondes" that went "onto huge stages in rhinestones. Furthermore, these blondes made believe they were "dancing and singing" which Baraka seems to be implying that white people dancing is not what dancing is supposed to be at all. These allusions bring forth the question of where black Americans fit in the public eye. Baraka says: We are preaching virtue and feeling, and a natural sense of the self in the world. All men live in the world, and the world ought to be a place for them to live. Baraka's essay challenges the idea that there is no space in politics or in society for black Americans to make a difference through different art forms that consist of, but are not limited to, poetry, song, dance, and art. According to the Academy of American Poets, many writers--Native Americans, Latinos/as, gays and lesbians, and younger generations of African Americans have acknowledged their debt to the Black Arts Movement. [4] The movement lasted for about a decade, through the mid-1960s and into the 1970s. This was a period of controversy and change in the world of literature.

One major change came through in the portrayal of new ethnic voices in the United States. English-language literature, prior to the Black Arts Movement, was dominated by white authors. African Americans became a greater presence not only in the field of literature but in all areas of the arts.

Theater groups, poetry performances, music and dance were central to the movement. Through different forms of media, African Americans were able to educate others about the expression of cultural differences and viewpoints.

In particular, black poetry readings allowed African Americans to use vernacular dialogues. This was shown in the Harlem Writers Guild, which included black writers such as Maya Angelou and Rosa Guy. These performances were used to express political slogans and as a tool for organization. Theater performances also were used to convey community issues and organizations.

The theaters, as well as cultural centers, were based throughout America and were used for community meetings, study groups and film screenings. Newspapers were a major tool in spreading the Black Arts Movement.

In 1964, Black Dialogue was published, making it the first major Arts movement publication. The Black Arts Movement, although short, is essential to the history of the United States.

It spurred political activism and use of speech throughout every African-American community. It allowed African Americans the chance to express their voices in the mass media as well as become involved in communities. It can be argued that "the Black Arts movement produced some of the most exciting poetry, drama, dance, music, visual art, and fiction of the post-World War II United States" and that many important "post-Black artists" such as Toni Morrison, Ntozake Shange, Alice Walker, and August Wilson were shaped by the movement. The Black Arts Movement also provided incentives for public funding of the arts and increased public support of various arts initiatives. The Arts Council of England's (ACE) Decibel initiative produced a summary in 2003 in association with The Guardian newspaper.

An international exhibition, Back to Black Art, Cinema and the Racial Imaginary, was held at the Whitechapel Gallery in 2005. A 2006 major conference Should Black Art Still Be Beautiful? Organized by OOM Gallery and Midwest, examined the development of contemporary Black cultural practice and its future in Britain.

On April 1, 2006, New Art Gallery, Walsall, UK, held a conference in honour of the late Donald Rodney. Gallery 32 and Its Circle, a 2009 art exhibition hosted at Loyola Mount University's Laband Art Gallery, [26] featured artwork displayed the eponymous gallery, which featured black artists in the Los Angeles area and played an integral role in the Black Arts movement in the area. A recently redeveloped African and Asian Visual Arts Archive is located at the University of East London (UEL). While African American art of the 18th and 19th centuries continued to reflect African artistic traditions, the earliest fine art made by professional African American artists was in an academic Western style. Among the leading black sculptors of the 19th century were Eugene Warbourg and Mary Edmonia Lewis, the first professional African American sculptor.

The most distinguished African American artist who worked in the 19th century was Henry Ossawa Tanner, who painted African American genre subjects and reflects the realist tradition. In the early 20th century, the most important aesthetic movement in African American art was the Harlem Renaissance or the New Negro movement of the 1920s. The Harlem district of New York became the cultural capital of black America. Practicing in New York, Stuart Davis was heavily influenced by African American culture and jazz music, though he was not an African American. Aaron Douglas consciously incorporated African imagery into his work.

The most important African American photographer of that period was James Van Der Zee, who photographed people and scenes in Harlem for more than 50 years. During and immediately after World War II there arose to prominence a new school of African American artists, many of whom were the so-called children of the Harlem Renaissance. During the 1950s African American art was dominated by Abstract Expressionism and realism; their significant practitioners included Charles Alston, Romare Bearden and James Wells.

In the 1960s and 1970s new classifications appeared in African American art based on continuing developments in abstract art and the rise of the figurative style known as Black Expressionism. The most prominent African American abstract painter was Sam Gilliam, based in Washington, DC.

Martin Puryear emerged during the 1980s as a leading African American abstract sculptor. In the 1980s African American art was the subject of a number of pioneering exhibitions, such as Black ArtAncestral Legacy: The African Impulse in African American Art (Dallas Museum of Art, 1989), that brought together the works of African, Caribbean and African American academic and folk artists.

Todays artists, such as Kara Walker and Fred Wilson, continue to grapple with the complex issues of African American history and identity in contemporary visual art. The item "DAWOUD BEY PHOTOGRAPH AFRICAN AMERICAN ARTIST SIGNED ORIGINAL 12 X11 1/2" is in sale since Sunday, June 21, 2020. This item is in the category "Art\Art Photographs". The seller is "collectiblecollectiblecollectible" and is located in Ann Arbor, Michigan.

This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, Sweden, South Korea, Indonesia, Taiwan, South africa, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Singapore, Norway, Saudi arabia, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Chile, Colombia, Costa rica, Panama, Trinidad and tobago, Guatemala, Honduras, Jamaica, Barbados, Bangladesh, Bermuda, Brunei darussalam, Bolivia, Ecuador, Egypt, French guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman islands, Liechtenstein, Sri lanka, Luxembourg, Monaco, Macao, Martinique, Maldives, Nicaragua, Oman, Peru, Pakistan, Paraguay, Reunion, Viet nam, Uruguay.

  1. Artist: DAWOUD BEY
  2. Listed By: Dealer or Reseller
  3. Date of Creation: 2000-Now
  4. Features: Matted
  5. Originality: Original

Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2   Dawoud Bey Photograph African American Artist Signed Original 12 X11 1/2