Photo African American

Ernest Withers Photo 8x10 African American Artist Photographer B. B. King


Ernest Withers Photo 8x10 African American Artist Photographer B. B. King
Ernest Withers Photo 8x10 African American Artist Photographer B. B. King

Ernest Withers Photo 8x10 African American Artist Photographer B. B. King    Ernest Withers Photo 8x10 African American Artist Photographer B. B. King

A PHOTOGRAPH THAT I OBTAINED FROM ERNEST C. WITHERS , AFRICAN AMERICAN PHOTOGRAPHER, MEASURING 8X10 INCHES. THE PHOTOGRAPH IS OF B.

KING AND IS A RARE IMAGE BY HIM. Gelatin Silver Print by E C.

Printed later by Ernest C. (Memphis, TN, 1922-Memphis, TN, 2007). ERNEST WITHERS: A Second Look. In: Art New England 32, no. Selected Civil Rights Photographs of ERNEST C.

Foreword by poet Margaret Walker; text by Michele Furst, et al. Important work by a photographer also known for his photographs of the Memphis Blues scene during the same period. Unlike many photojournalists who covered the Civil Rights Movement, Ernest Withers was an active participant in the cause and his work often went unpaid and without credit. Widely published in Time, Life, and Newsweek magazines, Withers's photographs record the more quiet, personal moments within the larger, historic events. Traveled to: Diggs Gallery, Winston-Salem State University, through Dec. 10, 1994, and other venues; exhibition of same title at Harriet Tubman House, Macon, GA, 2000.

Signs of Social Change: Photographs by ERNEST C. A selection of works from Withers's archive of Civil Rights movement photographs. Museum of Art, University of Mississippi. Memphis Brooks Museum of Art.

One Day is Not Enough: Memphis Desegregation Through the Lens of ERNEST WITHERS. Pictures Tell the Story: ERNEST C. Jack Hurley and Daniel J.

The first major monograph on the Memphis photographer who, more than any other, documented the Southern chapter of the Civil Rights Movement as well as the lively music scene in Memphis and the Negro League. Gail Floether Steinhilber Art Gallery, University of Wisconsin-Oshkosh. I Was There: Photographs by Civil Rights Photographer ERNEST C. Pictures Tell the Story: Photographs by ERNEST C. WITHERS Documenting the Civil Rights Movement.

Complete Photo Story of Till Murder Case. Self-published booklet by Ernest C. Negro League Baseball: Photographs by ERNEST C. 4to 26 x 25 cm. Wolff, Daniel and ERNEST C.

WITHERS: The Memphis Blues Again. New York: Viking Studio, 2001. Same title as the 2005 exhibition of the High Museum's recently acquired collection of over 75 of Withers' photographs from the 1950s-1970s depicting the rise of the Memphis and Tennessee music scene, covering many different musical genres blues, jazz, R&B, gospel, early rock and roll, soul and funk. 4to 12.3 x 10.9 in. GENERAL BOOKS AND GROUP EXHIBITIONS. Group exhibition of nearly 170 historic photographs. Curated by Julian Cox, Curator of Photography at the High Museum of Art. Includes work by Doris Derby, Leroy Henderson, and Ernest ithers, dozens of well-known white activist photographers, photojournalists, and also important photos taken by amateurs and press corps photographers which are not often displayed in a museum context. Traveled to: kirball Cultural Center, -March 7, 2010 where The Skirball added a new section to the exhibition that documents the struggle for civil rights in Los Angeles; among the local events portrayed are the picketing of the Kress Store in Pasadena (1960) and the Watts Riots (1965). This expanded exhibition also included a documentary film, specially produced for the Skirball's presentation of Road to Freedom, that illuminates the unified efforts of the Jewish and African American communities to achieve justice for all during the Civil Rights movement; also exhibited Bronx Museum of the Arts, March 28-August 11, 2010. Seeing Through Race: A Reinterpretation of Civil Rights Photography. Berkeley: University of California Press, 2011. Only two images are by a black photographer - Ernest C. A study of how white journalists and their audiences selected, framed, and responded to images of the Civil Rights era, with selective comparisons to coverage of the same events by the black media. Constructing Masculinity Discussion in Contemporary Culture, No.

Adrian Piper, Marlon Riggs, Ernest C. Extensive discussion of race stereotypes of black males in popular culture, the media and the arts. Group exhibition of work by three photographers. Our Lives Begin to End the Day We Become Silent About Things That Matter - Dr.

Included: Ernest Withers, Tanya Murphy Dodd, Frank Stewart, Leroy Henderson and Robert Sengstacke. Sight of Sound: Photographs by Ryan Mastro, Ron Pownall, Charlie Sawyer, Frank Stewart, and Ernest C. Group exhibition of music-related photographs. Witness: Art and Civil Rights in the Sixties. Texts by Kellie Jones, Connie H.

Choi, Teresa A Carbone, Cynthia A. Includes: Chalres Alston, Benny Andrews, Emma Amos, Romare Bearden, Frank Bowling, Elizabeth Catlett, Barbara Chase-Riboud, LeRoy P. Clarke, Roy DeCarava, Jeff Donaldson, Emory Douglas, Melvin Edwards, Sam Gilliam, David Hammons, Ben Hazard, Barkeley Hendricks, Jae Jarrell, Daniel Larue Johnson, Barbara Jones-Hogu, Jacob Lawrence, Norman Lewis, Tom Lloyd, Ademola Olugebefola, John Outterbridge, Joe Overstreet, Gordon Parks, Ben Patterson, Noah Purifoy, Faith Ringgold, John T. Riddle, Betye Saar, Raymond Saunders, Robert A. Bob Thompson, Charles White, Jack Whitten, William T.

Dozens of others mentioned in passing. Traveled to: Hood Museum of Art, Dartmouth College, Hanover, NH, August 30-December 14, 2014. 4to 11.2 x 9.7 in.

MoCADA Museum of Contemporary African Diasporan Art. September 25, 2008-January 18, 2009. Included: Hank Willis Thomas, Russell Frederick, Rah Crawford, Radcliffe Bailey, Charly Palmer, LeRoy Henderson, Fahamu Pecou, Jefferson Pinder, Jamel Shabazz, Lorenzo Steele, Jr. Juan Sanchez and Ernest C Withers.

Exhibiting Blackness: African Americans and the American Art Museum. Amherst: University of Massachusetts Press, 2011.

The narrative begins in 1927 with the Chicago "Negro in Art Week" exhibition, and in the 1930s with the Museum of Modern Art's exhibition of "William Edmondson" (1937) and "Contemporary Negro Art" (1939) at the Baltimore Museum of Art; the focus, however, is on exhibitions held from the 1960s to present with chapters on "Harlem on My Mind" (1969), "Two Centuries of Black American Art" (1976); "Black Male" (1994-95); and "The Quilts of Gee's Bend" (2202). Numerous artists, but most mentioned only in passing: Cedric Adams, Charles Alston, Emma Amos, Benny Andrews, Edward M. Bannister, Richmond Barthé, Romare Bearden, numerous Bendolphs (Annie, Jacob, Mary Ann, Mary Lee, Louisiana) and Loretta Bennett, Ed Bereal, Donald Bernard, Nayland Blake, Gloria Bohanon, Leslie Bolling, St. Clair Bourne, Cloyd Boykin, Kay Brown, Selma Burke, Bernie Casey, Roland Charles, Barbara Chase-Riboud, Claude Clark, Linda Day Clark, Robert Colescott, Dan Concholar, Emilio Cruz, Ernest Crichlow (footnote only), Alonzo Davis, Selma Day (footnote only), Roy DeCarava, Aaron Douglas, Emory Douglas, Robert M.

Duncanson, William Edmondson, Elton Fax (footnote only), Cecil L. Fergerson, Roland Freeman, Meta Vaux Warrick Fuller, Reginald Gammon (footnote only), K.

Ganaway, Sam Gilliam, David Hammons, William A. Harper, Palmer Hayden, Vertis C. Herring, Richard Hunt, Rudy Irwin, May Howard Jackson, Suzanne Jackson, Joshua Johnson, William H. Johnson, Lois Mailou Jones, Gwendolyn Knight, Wifredo Lam, Artis Lane, Jacob Lawrence, Edmonia Lewis, Norman Lewis, Samella Lewis, Alvin Loving (footnote only), William Majors (footnote only), Richard Mayhew, Reginald McGhee, Archibald J. Richard Mayhew, Willie Middlebrook, Ron Moody, Lottie and Lucy Mooney, Flora Moore, Scipio Moorhead, Norma Morgan, Archibald J.

Sara Murrell (footnote only), Otto Neals (footnote only), Odili Donald Odita, Noni Olubisi, Ademola Olugebefola, John Outterbridge, Gordon Parks, six Pettways Annie E. Letisha, James Phillips, Howardena Pindell, Horace Pippin, Carl Pope, James A. Porter, Nancy Elizabeth Prophet, Noah Purifoy, Martin Puryear, Okoe Pyatt (footnote only), Robert Reid (footnote only), John Rhoden, John Riddle, Faith Ringgold (footnote only), Betye Saar, Raymond Saunders (footnote only), Augusta Savage, William E. Scott, Georgette Seabrook, James Sepyo (footnote only), Taiwo Shabazz (footnote only), Gary Simmons, Lorna Simpson, Merton Simpson (footnote only), Albert Alexander Smith, Arenzo Smith, Frank Stewart, Henry Ossawa Tanner, Alma Thomas, Danny Tisdale, Melvin Van Peebles, James Vanderzee, Annie Walker, Kara Walker, Augustus Washington, Timothy Washington, Carrie Mae Weems, James Lesesne Wells, Charles White, Pat Ward Williams, William T.

Williams, Deborah Willis, Fred Wilson, Ernest C. Withers, Beulah Ecton Woodard, Hale Woodruff, Lloyd Yearwood, Annie Mae and Nettie Pettway Young. 8vo 9 x 6 in. Center for Documentary Studies, Duke University, 1999. This issue contains an article on the photographs of Ernest C.

Withers and photojournalism on Tupelo, Mississippi. GATES, HENRY LOUIS and EVELYN BROOKS HIGGINBOTHAM, eds. Originally published in 8 volumes, the set has grown to 12 vollumes with the addition of 1000 new entries. Also available as online database of biographies, accessible only to paid subscribers well-endowed institutions and research libraries. As per update of February 2, 2009, the following artists were included in the 8-volume set, plus addenda.

A very poor showing for such an important reference work. Hopefully there are many more artists in the new entries: Jesse Aaron, Julien Abele (architect), John H. Ron Adams, Salimah Ali, James Latimer Allen, Charles H. Alston, Amalia Amaki, Emma Amos, Benny Andrews, William E. Artis, Herman "Kofi" Bailey, Walter T.

Bailey (architect), James Presley Ball, Edward M. Bannister, Anthony Barboza, Ernie Barnes, Richmond Barthé, Jean-Michel Basquiat, Cornelius Marion Battey, Romare Bearden, Phoebe Beasley, Arthur Bedou, Mary A.

Bell, Cuesta Ray Benberry, John Biggers, Camille Billops, Howard Bingham, Alpha Blackburn, Robert H. Blackburn, Walter Scott Blackburn, Melvin R.

Bolden, David Bustill Bowser, Wallace Branch, Barbara Brandon, Grafton Tyler Brown, Richard Lonsdale Brown, Barbara Bullock, Selma Hortense Burke, Calvin Burnett, Margaret Taylor Goss Burroughs, John Bush, Elmer Simms Campbell, Elizabeth Catlett, David C. Raven Chanticleer, Ed Clark, Allen Eugene Cole, Robert H. Colescott, Eldzier Cortor, Ernest T. Crichlow, Michael Cummings, Dave the Potter [David Drake], Griffith J.

Davis, Thomas Day, Beauford Delaney, Joseph Delaney, Thornton Dial, Sr. Joseph Eldridge Dodd, Jeff Donaldson, Aaron Douglas, Sam Doyle, David Clyde Driskell, Robert S. Duncanson, Ed Dwight (listed as military, not as artist); Mel Edwards, Minnie Jones Evans, William McNight Farrow, Elton Fax, Daniel Freeman, Meta Warrick Fuller, Reginald Gammon, King Daniel Ganaway, the Goodridge Brothers, Rex Goreleigh, Tyree Guyton, James Hampton, Della Brown Taylor (Hardman), Edwin Augustus Harleston, Charles "Teenie" Harris, Lyle Ashton Harris, Bessie Harvey, Isaac Scott Hathaway, Palmer Hayden, Nestor Hernandez, George Joseph Herriman, Varnette Honeywood, Walter Hood, Richard L. Hunster, Richard Hunt, Clementine Hunter, Bill Hutson, Joshua Johnson, Sargent Claude Johnson, William H. Johnson, Lois Mailou Jones, Ann Keesee, Gwendolyn Knight, Jacob Lawrence, Hughie Lee-Smith, Edmonia Lewis, Samella Lewis, Glenn Ligon, Jules Lion, Edward Love, Estella Conwill Majozo, Ellen Littlejohn, Kerry James Marshall, Lynn Marshall-Linnemeier, Richard Mayhew, Carolyn Mazloomi, Aaron Vincent McGruder, Robert H.

McNeill, Scipio Moorhead, Archibald H. Imagination (Gregory Warmack), Lorraine O'Grady, Jackie Ormes, Joe Overstreet, Carl Owens, Gordon Parks, Sr.

Edgar Patience, Howardena Pindell, Adrian Margaret Smith Piper, Rose Piper, Horace Pippin, William Sidney Pittman, Stephanie Pogue, Prentiss Herman Polk (as Prentice), James Amos Porter, Harriet Powers, Elizabeth Prophet, Martin Puryear, Patrick Henry Reason, Michael Richards, Arthur Rose, Alison Saar, Betye Saar, Raymond Saunders, Augusta Savage, Joyce J. Scott, Addison Scurlock, George Scurlock, Willie Brown Seals, Charles Sebree, Joe Selby, Lorna Simpson, Norma Merrick Sklarek, Clarissa Sligh, Albert Alexander Smith, Damballah Smith, Marvin and Morgan Smith, Maurice B. Sorrell, Simon Sparrow, Rozzell Sykes, Henry Ossawa Tanner, Alma Thomas, J. Thomas, Robert Louis (Bob) Thompson, Mildred Jean Thompson, Dox Thrash, William Tolliver, Bill Traylor, Leo F. Twiggs, James Augustus Joseph Vanderzee, Kara Walker, William Onikwa Wallace, Laura Wheeler Waring, Augustus Washington, James W.

Carrie Mae Weems, James Lesesne Wells, Charles White, John H. White, Jack Whitten, Carla Williams, Daniel S. Williams, Paul Revere Williams (architect), Deborah Willis, Ed Wilson, Ellis Wilson, Fred Wilson, John Woodrow Wilson, Ernest C.

Withers, Beulah Ecton Woodard, Hale Aspacio Woodruff. GOLDBERG, VICKI and ROBERT SILBERMAN, eds. American Photography: A Century of Images. San Francisco: Chronicle Books, 1999. 50 color and 110 b&w illus.

Includes: Bernie Boston, Albert Chong, Chester Higgins, Jr. Gordon Parks, Eli Reed, Lorna Simpson, James Vanderzee, Carrie Mae Weems, Ernest C. 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.

KING: The Photobiography of Martin Luther King, Jr.. Includes photographs by Frank Dandrige, Benedict J. Fernandez, Robert Sengstacke, Ernest Withers, as well as dozens of white photographers. 4to 12 x 9 in.

Kalamazoo Institute of the Arts. Embracing Diverse Voices: African-American Art in the Collection. Group exhibition of over sixty works of art. Artists included: Al Harris, Murphy Darden, James M.

Watkins, Maria Scott and James Palmore along with nationally known artists Robert S. Duncanson, Henry Ossawa Tanner, Romare Bearden, Elizabeth Catlett, Jacob Lawrence, Lorna Simpson, Hughie Lee-Smith, Charles White, photographs by James Van Der Zee and Ernest C.

Traveled to: Thorne-Sagendorph Art Gallery, Keene State College, Keene, NH, September 19-November 16, 2014. Energy and Inspiration: African-American Art from the Permanent Collection. Included: Ron Adams, Romare Bearden, Robert G. Carter, Reginald Gammon, Sam Gilliam, Earlie Hudnall Jr. Richard Hunt, Jacob Lawrence, Richard Mayhew, Kara Walker, Ernest C.

By Steven Kasher; foreword by Myrlie Evers-Williams. Black photographers of the movement included Gordon Parks and Frank Dandridge working for Life; Robert Sengstacke of the Chicago Defender; Joffre Clark, Fred de Van, Bob Fletcher, Rufus Hinton, Julius Lester, Francis Mitchell, and Clifford Vaughs of SNCC; and freelancers Ernest Withers, Beuford Smith, and Robert Houston. The owners of Jet and Ebony, employed a large staff of black photographers including Moneta Sleet, Jr. 4to 9 x 9 in. Streetwise: Masters of 60s Photography. The Power of Art: Generational Wealth. Included: Benny Andrews, Richmond Barthé, John T. Biggers, Elizabeth Catlett, Robert S. Duncanson, LaToya Hobbs, Clementine Hunter, Dean Mitchell, Charles Ethan Porter, Henry Ossawa Tanner, Ernest C. Pyramid / Hearne Fine Art. Note: Exhibition title was slightly different: Two Decades of Excellence. Foreword by Halima Taha; texts by Archie Hearne, III, Garbo Watson Hearne; afterword by Dianne Smith. Includes new work by 57 artists: Gabriel Ajayi.

Leroy Allen, Benny Andrews, Phoebe Beasley, Alix Beaujour, John Biggers, Bisa Butler, Elizabeth Catlett, Chukes, William Clarke, Kevin Cole, Adger Cowans, Charles Criner, Earnest Davidson, Rex Deloney, Ed Dwight, Marion Epting, Lawrence Finney, Frank Frazier, Paul Goodnight, Jonathan Green, Larry Hampton, Chester Higgins, Jr. Kennith Humphrey, George Hunt, Ariston Jacks, Laura James, Leroy Johnson, Brenda Joysmith, Artis Lane, Anthony D. Lee, Samella Lewis, Sylvester McKissick, Dean Mitchell, Tonia Mitchell, Euneda Otis, Charly Palmer, Johnice Parker, Morris Richardson, II, Mario Robinson, W. Earl Robinson, Alvin Roy, AJ Smith, Albert Smith, Dianne Smith, Phyllis Stephens, TAFA, Twins (Jerry & Terry Lynn), Evita Tezeno, William Tolliver, Ed Wade, Dale Washington, Basil Watson, Kiersten Williams, Susan Williams, Marjorie Williams-Smith, Ernest C. Traveled to: Chattanooga African American Museum.

Review: Michael Crumb, "African American Art History: Collaborating With You, " The Chattanooga Pulse, September 16, 2009. 4to 29 x 30 cm.

11.75 x 11.25 in. August 23, 2008-January 5, 2009. Curated from the Brooks Museum of Art Memphis World Collection. By Marina Pacini; texts by Russell Wigginton (on the history of the Memphis World newspaper) and by Deborah Willis emphasis on black press photographers generally, most of whom were not included in the exhibition: Allan Edward Cole, Gordon Parks, and Teenie Harris.

Includes: 12 photos by Ernest C. Withers, 11 by the Hooks Brothers, several by R. Jaffe, Henry Ford, Reese Studios, Mark Stansbury, Tisby. The selection includes photographs of groups and numerous photographs of individuals with brier biographies and other information on each by fifteen contributors. 19 of the photographs also exhibited at: Clough Hanson Gallery, Rhodes College, September 5-October 4, 2008.

The Soul of a City: Memphis Collects African American Art. Group exhibition of 130 works.

Included: Romare Bearden, Radcliffe Bailey, Chakaia Booker, Elizabeth Catlett, Sonya Clark, Thornton Dial, William Edmondson, Minnie Evans, Sam Gilliam, Clementine Hunter, Jacob Lawrence, Norman Lewis, Glenn Ligon, Whitfield Lovell, Wangechi Mutu, Demetrius Oliver, Elijah Pierce, Tim Rollins & K. Lorna Simpson, Henry Ossawa Tanner, Alma Thomas, Bill Traylor, James Vanderzee, Kara Walker, Carrie Mae Weems, Kehinde Wiley, Ernest C. Withers, Purvis Young, and Memphis artists George Hunt, Brenda Joysmith, TWINS (Jerry & Terry Lynn), Jared Small, Danny Broadway, Anthony Lee, Michael Rodgers, Dewitt Jordan, Kiersten Williams, Hattie Childress, Luther Hampton, Edwin Jeffrey, and Hawkins Bolden. Committed to the Image: Contemporary Black Photographers. Brooklyn: Museum of Art in association with London: Merrell, 2001.

Excellent quality b&w and color illus. Texts by Clyde Taylor and Deba P. Published to accompany an exhibition at the Brooklyn Museum of Art.

Includes 94 contemporary African American photographers who live and work in the United State, each represented by several images. Artists included: Salimah Ali, Jules Allen, Anthony Barboza, Ronald Barboza, Hugh Bell, Donald L. Bernard, Kwame Brathwaite, Nathaniel Burkins, Keith Calhoun, Don Camp, Ron Campbell, Howard T. Cash, Albert Chong, Barron Claiborne, Carl Clark, Linda Day Clark, Wayne Clarke, Jim Collier, Kerry Stuart Coppin, Adger W.

Cowans, Renée Cox, Gerald Cyrus, Martin Dixon, Sulaiman Ellison, Mfon (Mmekutmfon) Essien, Delphine A. Fennar, Collette Fournier, Omar Francis, Roland L.

Gaskin, Bill Gaskins, Tony Gleaton, Faith Goodin, Lonnie Graham, Todd Gray, Bob Greene, C. Griffin, Inge Hardison, Joe Harris, Art Harrison, Leroy W.

Jackson, Leslie Jean-Bart, Jason Miccolo Johnson, Omar Kharem, Gary Jackson Kirksey, Andrea Davis Kronlund, Fern Logan, Lauri Lyons, Stephen Marc, Charles Martin, Steve J. Martin, Chandra McCormick, Willie Middlebrook, Cheryl Miller, Jeanne Moutoussamy-Ashe, Ozier Muhammad, Marilyn Nance, Oggi Ogburn, Gordon Parks, Toni Parks, John Pinderhughes, Carl Pope, Jr. Herbert Randall, Eli Reed, Vernon Reid, Orville Robertson, Herb Robinson, Richard Howard Rose, Jeffery A.

Salter, Juma Santos, Jeffrey Henson Scales, Keisha Scarville, Accra Shepp, Coreen Simpson, Beuford Smith, Jamyl Oboong Smith, Chuck Stewart, Frank Stewart, Gerald Straw, Bruce W. Talamon, Ron Tarver, Shawn W. Walker, Carrie Mae Weems, Edward West, Cynthia Wiggins, Budd Williams, Ernest C.

Withers, Suné Woods, Mel Wright, Gene Young. Ogden Museum of Southern Art, University of New Orleans. Group photography exhibition including over 50 photographers. Included: Gordon Parks and Ernest C. Traveled to: Krannert Art Museum, September 5-November 2, 2003, and other venues. African Americans in the Visual Arts.

New York: Facts on File, 2003. 50 b&w photos of some artists, brief 2-page bibliog.

Part of the A to Z of African Americans series. Lists over 170 visual artists (including 18 photographers) and 22 filmmakers with brief biographies and token bibliog. An erratic selection, far less complete than the St. James Guide to Black Artists, and inexplicably leaving out over 250 artists of obvious historic importance for ex. Harleston, Grafton Tyler Brown, Charles Ethan Porter, Wadsworth Jarrell, John Outterbridge, Noah Purifoy, William Majors, Camille Billops, Whitfield Lovell, Al Loving, Ed Clark, John T.

Scott, Maren Hassinger, Lorraine O'Grady, Winnie Owens-Hart, Adrienne Hoard, Oliver Jackson, Frederick Eversley, Glenn Ligon, Sam Middleton, Ed Hamilton, Pat Ward Williams, etc. And omitting a generation of well-established contemporary artists who emerged during the late 70s-90s. Note: a newly revised edition of 2012 (ten pages longer) has not rendered it a worthy reference work on this topic. 8vo (25 com), laminated papered boards.

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. Menschel Photography Gallery, Syracuse University. Includes: Gordon Parks and Ernest Withers. 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. Visualizing Political Struggle: Civil Rights Era Photography. In: Holloway, David and John Beck, eds. American Visual Cultures:166-173, 4 b&w illus. A survey of how Civil Rights era photography aroused public opinion and informed social consciousness, that at least mentions in passing a small roster of black photographers: Roy DeCarava, Jonathan Eubanks, Benedict Fernandez, Bob Fletcher, Jack T. Hickman, Bert Miles, Gordon Parks, Richard Saunders, Moneta Sleet, Jr. Beuford Smith, Elaine Tomlin, Cecil Williams, and Ernest Withers. 8vo 9.7 x 6.7 in. 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. Posing Beauty: African American Images from the 1890s to the Present.

Includes: Ifétayo Abdus-Salam, James Lattimer Allen, Kwaku Alston, Henry Clay Anderson, Thomas Askew, Anthony Barboza, Jean-Michel Basquiat, Josephine Baker, Cornelius Battey, James Brown, Renée Cox, Mansita Diawara, Lola Flash, Daniel Freeman, Joy Gregory, Charles (Teenie) Harris, Lyle Ashton Harris, Alex Harsley, Terrence Jennings, Marian Jones, Seydou Keita, Lauren Kelley, Harlee Little, Robert H. McNeill, white photojournalist Wayne F. Mosley, Jeanne Moutoussamy-Ashe, David "Oggi" Ogburn, J.

Okhai Ojeikere, Gordon Parks, Prentiss H. Polk, Sheila Pree Bright, Eli Reed, Richard S. Roberts, Jeffrey Scales, Addison Scurlock, Robert Sengstacke, Jamel Shabazz, Malick Sidibé, Coreen Simpson, Lorna Simpson, Bayeté Ross Smith, Hank Willis Thomas, Mickalene Thomas, Lewis Watts, Carrie Mae Weems, Wendel A. White, Carla Williams, Ernest C.

Withers, Lauren Woods, et al. Published in conjunction with exhibition of the same title at Gulf & Western, New York, NY; Tisch School of the Arts, New York University, New York, August 27-October 18, 2009; Art Gallery of Hamilton, Hamilton, Ontario, Canada, January 16-May 9, 2010; Taubman Museum, Roanoke, VA, June 11-August 22, 2010; Williams College Museum of Art, Williamstown, MA, September 11-November 21, 2010; Newark Museum, Newark, NJ, February 2-May 8, 2011; USC Fisher Museum of Art, Los Angeles, September 7-December 3, 2011; Everhart Museum, Scranton, PA, February 2-April 1, 2012; Figge Museum of Art, Davenport, IA, September 8-November 3, 2012; The College of Wooster Art Museum, Wooster, OH, January 15-March 3, 2013; Spelman College, Atlanta, GA, September 5-December 7, 2013; Virginia Museum of Fine Arts, April 26-July 27, 2014, and many other venues. 4to 12.4 x 9.3 in. 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.

Ernest Withers, a highly accomplished photographer, was born on August 7, 1922, in Memphis, Tennessee to parents Arthur Withers, a mailman and Pearl Withers, a school teacher, both from Marshall County, Mississippi. Withers collection, which spans over 60 years of the 20th century, provides a vivid account of the segregated South. It includes team shots of the Memphis Red Sox, a team from the historic Negro Baseball League, major moments from the Civil Rights movement, and the Beale Street music scene.

His work has appeared in major publications including Time, Newsweek, and the New York Times. It has also been collected in four books: Let Us March On (1992), Pictures Tell the Story (2000), The Memphis Blues Again (2001), and Negro League Baseball (2005). Ernest Withers interest in photography began in the eighth grade. After graduating from high school in 1941, he joined the Army at 17, where he attended the Army School of Photography.

During his time in the Army, Withers ran a freelance business photographing white soldiers in Saipan, a U. During this period Withers also worked for about three years as one of the first nine African-American police officers hired in Memphis. During the late 1940s, Withers furnished publicity shots for the Memphis Red Sox.

Without realizing it, Withers, with his images, documented the last years of the Negro League. The league would soon fold after Jackie Robinson desegregated professional baseball in 1947. During the 1950s and 1960s, Withers photographed many of the most important figures and events in the Civil Rights movement. He traveled throughout the South with Dr. James Meredith, Medgar Evers, and other leaders of the Civil Rights movement. His now iconic images include Dr. Riding the first desegregated bus in Montgomery in 1956, the photos of Dr. King on the balcony of the Lorraine Hotel just before and just after he was shot in 1968, and the 1968 Memphis Sanitation Workers Strike which led to the assassination of Dr.

The Withers photographs also captured the history of Beale Street which by the 1940s was an epicenter for American music. On Saturday nights he photographed musicians and their audiences. His work documented the emergence of Rock and Roll, and Rhythm and Blues, in the 1950s as they grew from traditional blues and gospel music.

One of his best known images here was of Elvis Presley and B. Ernest Withers passed away in Memphis on October 15, 2007 at the age of 85 from complications due to a stroke. He was survived by his wife, Dorothy, three sons, Joshua, Andrew Jerome, and Perry, all in Memphis, and a daughter, Rosalind, in West Palm Beach, Florida. Three years after his passing, a New York Times article revealed that Withers was briefly a paid FBI informant. He secretly provided the FBI photographs, biographical information, and scheduling details for Dr.

King and other notable leaders of the civil rights movement between 1968 and 1970. King (September 16, 1925 May 14, 2015), known professionally as B. King, was an American singer-songwriter, guitarist, and record producer. King introduced a sophisticated style of soloing based on fluid string bending and shimmering vibrato that influenced many later blues electric guitar players.

King was inducted into the Rock and Roll Hall of Fame in 1987, and is one of the most influential blues musicians of all time, earning the nickname "The King of the Blues", and is considered one of the "Three Kings of the Blues Guitar" (along with Albert King and Freddie King, none of whom are blood related). [6][7][8] King performed tirelessly throughout his musical career, appearing on average at more than 200 concerts per year into his 70s. [9] In 1956 alone, he appeared at 342 shows. King was born on a cotton plantation in Itta Bena, Mississippi, and later worked at a cotton gin in Indianola, Mississippi.

He was attracted to music and the guitar in church, and began his career in juke joints and local radio. He later lived in Memphis, Tennessee, and Chicago, and as his fame grew, toured the world extensively. King died at the age of 89 in Las Vegas, Nevada, on May 14, 2015. King reflects on his greatest musical influences.

Interview date August 3, 2005, NAMM (National Association of Music Merchants) Oral History Library. 20062014: Farewell tour and later activities. King was born on September 16, 1925, [11] on the Berclair cotton plantation near the town of Itta Bena, Mississippi, [12][13] the son of sharecroppers Albert and Nora Ella King.

[13] He considered the nearby city of Indianola, Mississippi to be his home. [14] When King was four years old, his mother left his father for another man, so he was raised by his maternal grandmother, Elnora Farr, in Kilmichael, Mississippi. While young, King sang in the gospel choir at Elkhorn Baptist Church in Kilmichael. King was attracted to the Pentecostal Church of God in Christ because of its music. The local minister performed with a Sears Roebuck Silvertone guitar during services.

The minister taught King his first three chords. In November 1941, "King Biscuit Time" first aired, broadcasting on KFFA in Helena, Arkansas.

It was a radio show featuring the Mississippi Delta blues. King listened to it while on break at a plantation. A self-taught guitarist, he then wanted to become a radio musician. In 1943, King left Kilmichael to work as a tractor driver and play guitar with the Famous St.

John's Gospel Singers of Inverness, Mississippi, performing at area churches and on WGRM in Greenwood, Mississippi. In 1946, King followed Bukka White to Memphis, Tennessee. White took him in for the next ten months. He performed on Sonny Boy Williamson's radio program on KWEM in West Memphis, where he began to develop an audience. King's appearances led to steady engagements at the Sixteenth Avenue Grill in West Memphis, and later to a ten-minute spot on the Memphis radio station WDIA. [21] The radio spot became so popular that it was expanded and became the Sepia Swing Club. He worked at WDIA as a singer and disc jockey, where he was given the nickname "Beale Street Blues Boy", later shortened to "Blues Boy", and finally to B. [23][24][25] It was there that he first met T-Bone Walker. King said, Once I'd heard him for the first time, I knew I'd have to have [an electric guitar] myself.

Had' to have one, short of stealing! King playing his favorite guitar, Lucille, in the 1980s. In the late 1940s and early 1950s, King was a part of the blues scene on Beale Street.

"Beale Street was where it all started for me, " King said. He performed with Bobby Bland, Johnny Ace and Earl Forest in a group known as the Beale Streeters. According to King and Joe Bihari, Ike Turner introduced King to the Bihari brothers while he was a talent scout at Modern Records. [28][17] In 1949, King began recording songs under contract with Los Angeles-based RPM Records, a subsidiary of Modern.

Many of King's early recordings were produced by Sam Phillips, who later founded Sun Records. Before his RPM contract, King had debuted on Bullet Records by issuing the single, "Miss Martha King" (1949), which did not chart well. "My very first recordings [in 1949] were[sic] for a company out of Nashville called Bullet, the Bullet Record Transcription company, " King recalled. I had horns that very first session.

I had Phineas Newborn on piano; his father played drums, and his brother, Calvin, played guitar with me. I had Tuff Green on bass, Ben Branch on tenor sax, his brother, Thomas, on trumpet, and a lady trombone player. The Newborn family were the house band at the famous Plantation Inn in West Memphis. King assembled his own band; the B.

King Review, under the leadership of Millard Lee. The band initially consisted of Calvin Owens and Kenneth Sands (trumpet), Lawrence Burdin (alto saxophone), George Coleman (tenor saxophone), [30] Floyd Newman (baritone saxophone), Millard Lee (piano), George Joyner (bass) and Earl Forest and Ted Curry (drums). Onzie Horne was a trained musician elicited as an arranger to assist King with his compositions.

By his own admission, King could not play chords well and always relied on improvisation. King's recording contract was followed by tours across the United States, with performances in major theatres in cities such as Washington, D. Chicago, Los Angeles, Detroit, and St.

Louis, as well as numerous gigs in small clubs and juke joints of the southern United States. During one show in Twist, Arkansas, a brawl broke out between two men and caused a fire.

He evacuated along with the rest of the crowd but went back to retrieve his guitar. He said he later found out that the two men were fighting over a woman named Lucille. He named the guitar Lucille, as a reminder not to fight over women or run into any more burning buildings. The story of a guitar named Lucille. Following his first Billboard Rhythm and Blues charted number one, "3 O'Clock Blues" (February 1952), [35] B.

King became one of the most important names in R&B music in the 1950s, amassing an impressive list of hits[25] including "You Know I Love You", "Woke Up This Morning", "Please Love Me", "When My Heart Beats like a Hammer", "Whole Lotta Love", "You Upset Me Baby", "Every Day I Have the Blues", "Sneakin' Around", "Ten Long Years", "Bad Luck", "Sweet Little Angel", "On My Word of Honor", and "Please Accept My Love". 1956 became a record-breaking year, with 342 concerts booked and three recording sessions. [37] That same year he founded his own record label, Blues Boys Kingdom, with headquarters at Beale Street in Memphis. There, among other projects, he was a producer for artists such as Millard Lee and Levi Seabury. [14] In 1962, King signed to ABC-Paramount Records, which was later absorbed into MCA Records (which itself was later absorbed into Geffen Records).

In November 1964, King recorded the Live at the Regal album at the Regal Theater. [35] King later said that Regal Live is considered by some the best recording I've ever had. That particular day in Chicago everything came together.

From the late 1960s, new manager Sid Seidenberg pushed King into a different type of venue as blues-rock performers like Eric Clapton (once a member of The Yardbirds, as well as Cream), and Paul Butterfield were popularizing an appreciation of blues music among white audiences. [39] King gained further visibility among rock audiences as an opening act on the Rolling Stones' 1969 American Tour. [40] He won a 1970 Grammy Award for his version of the song "The Thrill Is Gone;"[41] which was a hit on both the Pop and R&B charts. It also gained the number 183 spot in Rolling Stone magazine's 500 Greatest Songs of All Time. King was inducted into the Blues Hall of Fame in 1980, the Rock and Roll Hall of Fame in 1987, and the National Rhythm & Blues Hall of Fame in 2014. [9][43] In 2004, he was awarded the international Polar Music Prize, given to artists in recognition of exceptional achievements in the creation and advancement of music. From the 1980s to his death in 2015, he maintained a highly visible and active career, appearing on numerous television shows and sometimes performing 300 nights a year.

In 1988, King reached a new generation of fans with the single "When Love Comes to Town, " a collaborative effort between King and the Irish band U2 on their Rattle and Hum album. [45][46] In 1998, he appeared in The Blues Brothers 2000, playing the part of the lead singer of the Louisiana Gator Boys, along with Eric Clapton, Dr.

John, Koko Taylor and Bo Diddley. In 2000, he and Clapton teamed up again to record Riding With the King, which won a Grammy Award for Best Traditional Blues Album.

Discussing where he took the Blues, from "dirt floor, smoke in the air" joints to grand concert halls, King said the Blues belonged everywhere beautiful music belonged. He successfully worked both sides of the commercial divide, with sophisticated recordings and "raw, raucous" live performance. In 2006, King went on a "farewell" world tour, although he remained active afterward. [48] The tour was partly supported by Northern Irish guitarist, Gary Moore, with whom King had previously toured and recorded.

It started in the United Kingdom, and continued with performances at the Montreux Jazz Festival and in Zürich at the Blues at Sunset. During his show in Montreux at the Stravinski Hall, he jammed with Joe Sample, Randy Crawford, David Sanborn, Gladys Knight, Leela James, Andre Beeka, Earl Thomas, Stanley Clarke, John McLaughlin, Barbara Hendricks and George Duke. King at Roy Thomson Hall, Toronto, in May 2007.

In June 2006, King was present at a memorial of his first radio broadcast at the Three Deuces Building in Greenwood, Mississippi, where an official marker of the Mississippi Blues Trail was erected. The same month, a groundbreaking was held for a new museum, dedicated to King, [50] in Indianola, Mississippi. King Museum and Delta Interpretive Center opened on September 13, 2008. In late October 2006, King recorded a concert album and video entitled B.

King: Live at his B. King Blues Clubs in Nashville and Memphis. The video of the four-night production featured his regular B. King Blues Band and captured his show as he performed it nightly around the world. Released in 2008, they documented his first live performances in over a decade. In 2007, King played at Eric Clapton's second Crossroads Guitar Festival[54] and contributed the songs "Goin' Home", to Goin' Home: A Tribute to Fats Domino (with Ivan Neville's DumpstaPhunk)[55] and "One Shoe Blues" to Sandra Boynton's children's album Blue Moo, accompanied by a pair of sock puppets in a music video for the song. In the summer of 2008, King played at the Bonnaroo Music and Arts Festival in Manchester, Tennessee, where he was given a key to the city. [57] Also in 2008, he was inducted into the Hollywood Bowl Hall of Fame. President Obama and King singing "Sweet Home Chicago" on February 21, 2012. King performed at the Mawazine festival in Rabat, Morocco, on May 27, 2010. [59] In June 2010, King performed at the Crossroads Guitar Festival with Robert Cray, Jimmie Vaughan, and Eric Clapton.

[60] He also contributed to Cyndi Lauper's album Memphis Blues, which was released on June 22, 2010. In 2011, King played at the Glastonbury Music Festival, [62] and in the Royal Albert Hall in London, where he recorded a concert video.

Rolling Stone ranked King at No. 6 on its 2011 list of the 100 greatest guitarists of all time. On February 21, 2012, King was among the performers of "In Performance at the White House: Red, White and Blues, " during which President Barack Obama sang part of "Sweet Home Chicago". [65] King recorded for the debut album of rapper and producer Big K. Who also hails from Mississippi. [66] On July 5, 2012, King performed a concert at the Byblos International Festival in Lebanon. On May 26, 2013, King appeared at the New Orleans Jazz Festival.

On October 3, 2014, after completing his live performance at the House of Blues in Chicago, a doctor diagnosed King with dehydration and exhaustion, and the eight remaining shows of his ongoing tour had to be cancelled. King did not reschedule the shows, and the House of Blues show would prove to be the last before his death in 2015. When I sing, I play in my mind; the minute I stop singing orally, I start to sing by playing Lucille.

For more information about King's guitar, see Lucille (guitar). King used equipment characteristic of the different periods he played in.

He played guitars made by various manufacturers early in his career. He played a Fender Esquire on most of his recordings with RPM Records. [72] However, he was best known for playing variants of the Gibson ES-355. In the September edition 1995 of Vintage Guitar magazine, early photos show him playing a Gibson ES-5 through a Fender tweed amp.

In reference to the photo, B. King stated, Yes; the old Fender amplifiers were the best that were ever made, in my opinion.

They had a good sound and they were durable; guys would throw them in the truck and theyd hold up. They had tubes, and theyd get real hot, but they just had a sound that is hard to put into words. The Fender Twin was great, but I have an old Lab Series amp that isnt being made anymore. I fell in love with it, because its sound is right between the old Fender amps that we used to have and the Fender Twin. Its what Im using tonight.

He later moved on from the larger Gibson hollow-bodied instruments which were prone to feedback when played at high volumes to various semi-hollow models beginning first with the ES-335 and then a deluxe version called the ES-355 which employed a stereo option. [73] In 1980, Gibson Guitar Corporation launched the B. King Lucille model, a ES-355 with stereo options, a varitone selector and fine tuners neither of which were actually utilized by B. And, at King's direct request, no f-holes to further reduce feedback.

In 2005, Gibson made a special run of 80 Gibson Lucilles, referred to as the "80th Birthday Lucille", the first prototype of which was given as a birthday gift to King, and which he used thereafter. King used a Lab Series L5 2×12 combo amplifier and had been using this amplifier for a long time. It was made by Norlin Industries for Gibson in the 1970s and 1980s.

Other popular L5 users are Allan Holdsworth and Ty Tabor of King's X. The L5 has an onboard compressor, parametric equalization, and four inputs. King also used a Fender Twin Reverb. He used his signature model strings Gibson SEG-BBS B.

King Signature Electric Guitar Strings with gauges: 101317p32w45w54w and D'Andrea 351 MD SHL CX (medium 0.71mm, tortoiseshell, celluloid) picks. King's Blues Club on Beale Street, Memphis. In 1991, Beale Street developer John Elkington recruited B.

King to Memphis to open the original B. King's Blues Club, and in 1994, a second club was launched at Universal Citywalk in Los Angeles. A third club in New York City's Times Square opened in June 2000 but closed on April 29, 2018. Management is currently in the process of finding a new location in New York City.

[76] Two more clubs opened, at Foxwoods Casino in Connecticut in January 2002, [77] and in Nashville in 2003. [78] Another club opened in Orlando in 2007.

[79] A club in West Palm Beach opened in the fall of 2009[80] and an additional one, based in the Mirage Hotel, Las Vegas, opened in the winter of 2009. [81] Another opened in the New Orleans French Quarter in 2016. King made guest appearances in numerous popular television shows, including The Cosby Show, The Young and the Restless, General Hospital, [83] The Fresh Prince of Bel-Air, Sesame Street, [84] Married... With Children, Sanford and Son, and Touched by an Angel. In 2000, the children's show, Between The Lions, featured a singing character named B. The King of Beasts, modeled on the real King. King: The Life of Riley, a feature documentary about King narrated by Morgan Freeman and directed by Jon Brewer, was released on October 15, 2012. King, who was diabetic, appeared in several television commercials for OneTouch Ultra, a blood glucose monitoring device, in the 2000s and early 2010s. [87] He appeared in 1995 in a McDonald's commercial with Australian guitarist Nathan Cavaleri, and then in a commercial for the Toyota Camry with his guitar Lucille. King was married twice, to Martha Lee Denton, November 1946 to 1952, and to Sue Carol Hall, 1958 to 1966. The failure of both marriages has been attributed to the heavy demands made by King's 250 performances a year. [13][89] It is reported that he fathered 15 children with several different women. [13][11] After his death, three more have come forward, claiming King as their father as well. [90] Though neither of his marriages produced children, and biographer Charles Sawyer wrote that doctors found his sperm count too low to conceive children, [91] King never disputed paternity of any of the 15 who claimed it, and by all accounts was generous in bankrolling college tuitions and establishing trust funds. Several of them also went public with the allegation that King's business manager, LaVerne Toney, and his personal assistant, Myron Johnson, had fatally poisoned him. Autopsy results showed no evidence of poisoning. A defamation suit filed by Johnson against the accusing family members (including his own sister, Karen Williams) is pending. Other children have filed lawsuits targeting King's music estate, which remains in dispute.

King was diagnosed with type 2 diabetes in 1990. [92] He lived with diabetes for over 20 years, and was a high-profile spokesman in the fight against the disease. King was an FAA certified private pilot and learned to fly in 1963 at what was then Chicago Hammond Airport in Lansing, Illinois.

As a result, he stopped flying around the age of 70. King's favorite singer was Frank Sinatra. In his autobiography he spoke about how he was a "Sinatra nut" and how he went to bed every night listening to Sinatra's classic album In the Wee Small Hours. During the 1960s Sinatra had arranged for King to play at the main clubs in Las Vegas. He credited Sinatra for opening doors to black entertainers who were not given the chance to play in "white-dominated" venues. On June 25, 2019, The New York Times Magazine listed B. King among hundreds of artists whose recordings were reportedly destroyed in the 2008 Universal fire. In September 1970, King recorded Live in Cook County Jail, during a time in which issues of race[99] and class in the prison system were prominent in politics. King also co-founded the Foundation for the Advancement of Inmate Rehabilitation and Recreation, tying in his support for prisoners and interest in prison reform.

[99] In addition to prison reform, King also wanted to utilize prison performances as a way to preserve music and songs in a similar way that Alan Lomax did. In 2002, King signed on as an official supporter of Little Kids Rock, a nonprofit organization that provides free musical instruments and instruction to children in underprivileged public schools throughout the United States.

He sat on the organization's Honorary Board of Directors. In the 2000s to early 2010s, King[92] was also involved in a diabetes awareness campaign with American Idol contestant, Crystal Bowersox, with One Touch Ultra, starring in commercials promoting diabetes health management. The remaining eight shows of his 2014 tour were cancelled because of health problems caused by complications from high blood pressure and diabetes.

[70][104][105] King died in his sleep on May 14, 2015, at the age of 89, [18] from vascular dementia caused by a series of small strokes as a consequence of his type 2 diabetes. [106] Two of his daughters alleged that King was deliberately poisoned by two associates trying to induce diabetic shock, [107] however an autopsy showed no evidence of poisoning. On May 27, 2015, King's body was flown to Memphis.

A funeral procession went down Beale Street, with a brass band marching in front of the hearse, playing When the Saints Go Marching In. Thousands lined the streets to pay their last respects. His body was then driven down Route 61 to his hometown of Indianola, Mississippi. [109] He was laid in repose at the B. King Museum and Delta Interpretive Center, in Indianola, for people to view his open casket.

[110][111] The funeral took place at the Bell Grove Missionary Baptist Church in Indianola, on May 30. [112][113][114] He was buried at the B. Singin' the Blues (1956)[115]. King of the Blues (1960). My Kind of Blues (1961). Blues in My Heart (1962). Blues on Top of Blues (1968). To Know You Is to Love You (1973). There Must Be a Better World Somewhere (1981).

King of the Blues: 1989 (1988). There Is Always One More Time (1991). Blues on the Bayou (1998).

Let the Good Times Roll (1999). Makin' Love Is Good for You (2000). Riding with the King (2000, with Eric Clapton). A Christmas Celebration of Hope (2001). King & Friends: 80 (2005). Years reflect the year in which the Grammy was awarded, for music released in the previous year. Best Male R&B Vocal Performance.

Best Ethnic or Traditional Recording. "There Must Be a Better World Somewhere".

Best R&B Performance by a Duo or Group with Vocals. My Guitar Sings the Blues. Best Country Collaboration with Vocals. "Waiting on the Light to Change". Best Pop Collaboration with Vocals. "Is You Is or Is You Ain't (My Baby)".

A Christmas Celebration of Hope. "Sinner's Prayer" (with Ray Charles). Rhythm, Country and Blues ("Patches" with George Jones). Outstanding Performance in a Youth/Children's Series or Special. King receiving the Presidential Medal of Freedom from George W.

1973: Honorary Doctorate of Humanities from Tougaloo College[116]. 1977: Honorary Doctor of Music by Yale University[117].

1980: Inducted into the Blues Hall of Fame[118]. 1985: Honorary Doctorate of Music from Berklee College of Music [119]. 1987: Inducted into the Rock & Roll Hall of Fame[120]. 1987: Grammy Lifetime Achievement Award[121].

1990: The National Medal of Arts[122]. 1991: The National Heritage Fellowship from the NEA[123]. Commemorative guitar pick honoring B. King Day in Portland, Maine. 1995: The Kennedy Center Honors; given to recognize "the lifelong accomplishments and extraordinary talents of our nation's most prestigious artists"[124]. 1998: Grammy Hall of Fame Award for "The Thrill is Gone"; the award is given to recordings that are at least 25 years old and that have "qualitative or historical significance"[125]. 2004: The Royal Swedish Academy of Music awarded him the Polar Music Prize for his "significant contributions to the blues"[44]. 2004: The Golden Plate Award of the American Academy of Achievement [126]. 2006: The Presidential Medal of Freedom awarded by President George W. Bush on December 15[127]. 2007: An honorary doctorate in music by Brown University (May 27)[128].

2008: The keys to the city of Portland, Maine (May 14)[129]. 2009: Time named King No.

3 on its list of the 10 best electric guitarists[130]. 2019: A Google Doodle celebrated what would have been King's 94th birthday.

Each year during the first week in June, a King Homecoming Festival is held in Indianola, Mississippi[132]. A Mississippi Blues Trail marker was added for King, commemorating his birthplace[133]. Honorific nicknames in popular music. List of nicknames of blues musicians. His reign as King of the Blues has been as long as that of any monarch on earth.

Continues to wear his crown well. At age 76 [in 2001], he is still light on his feet, singing and. Playing the blues with relentless passion.

Time has no apparent effect on B. Make him more popular, more cherished, more relevant than ever. Dont look for him in some. Kind of semi-retirement; look for him out on the road, playing for people, popping up in a myriad.

Commercials, or laying down tracks for his next album. King is as alive as the music. He plays, and a grateful world cant get enough of him.

For more than half a century, Riley B. King better known as B. King has defined the blues. Since he started recording in the 1940s, he has released over fifty.

Albums, many of them classics. He was born September 16, 1925, on a plantation in Itta Bena. In his youth, he played on street corners for dimes, and would. Sometimes play in as many as four towns a night. In 1947, he hitchhiked to Memphis, TN, to.

Memphis was where every important musician of the South gravitated. And which supported a large musical community where every style of African American music.

Stayed with his cousin Bukka White, one of the most celebrated blues. Performers of his time, who schooled B.

Further in the art of the blues. S first big break came in 1948 when he performed on Sonny Boy Williamsons radio.

Program on KWEM out of West Memphis. This led to steady engagements at the Sixteenth. Avenue Grill in West Memphis, and later to a ten-minute spot on black-staffed and managed. Kings Spot, became so popular, it was expanded and became.

Needed a catchy radio name. What started out as Beale Street.

Blues Boy was shortened to Blues Boy King, and eventually B. In the mid-1950s, while B. Was performing at a dance in. Twist, Arkansas, a few fans became unruly.

A fight and knocked over a kerosene stove, setting fire to the. Raced outdoors to safety with everyone else, then. He rushed back inside the burning building to retrieve it. When he later found out that the fight. Had been over a woman named Lucille, he decided to give the.

Name to his guitar to remind him never to do a crazy thing like. Ever since, each one of B. Gibson guitars has been called Lucille. Soon after his number one hit, Three Oclock Blues, B. And his band played an. From the chitlin circuit with. Its small-town cafes, juke joints, and country dance halls to. Rock palaces, symphony concert halls, universities, resort hotels.

And amphitheaters, nationally and internationally, B. Become the most renowned blues musician of the past 40 years. Has developed one of the. Worlds most identifiable guitar styles. Borrowed from Blind Lemon Jefferson, T-Bone.

Walker and others, integrating his precise and. Complex vocal-like string bends and his left. Hand vibrato, both of which have become. Indispensable components of rock guitarists.

Phrasing, has been a model for thousands of. Players, from Eric Clapton and George Harrison. Jazz, swing, mainstream pop and jump into a. S words, When I sing, I.

Play in my mind; the minute I stop singing. Orally, I start to sing by playing Lucille. Played at the Newport Folk. Festival and at Bill Grahams Fillmore West on. Bills with the hottest contemporary rock artists. Of the day who idolized B. And helped to introduce him to a young white audience. Was chosen by the Rolling Stones to open 18 American concerts for them; Ike and Tina. Turner also played on 18 shows.

Was inducted into the Blues Foundation Hall of Fame in 1984 and into the Rock and Roll. Hall of Fame in 1987. He received NARAS Lifetime Achievement Grammy Award in 1987. And has received honorary doctorates from Tougaloo (MS) College in 1973; Yale University in. 1977; Berklee College of Music in 1982; Rhodes College of Memphis in 1990; Mississippi.

Valley State University in 2002 and Brown University in 2007. In 1992, he received the National. Award of Distinction from the University of Mississippi. Kings Blues Club opened on Beale Street in Memphis, and in 1994, a second club. Was launched at Universal City Walk in Los Angeles. A third club in New York Citys Times. Square opened in June 2000 and most recently two clubs opened at Foxwoods Casino in. In 1996, the CD-Rom On The Road With B. Interactive Autobiography was released to rave reviews.

Blues All Around Me (written with David Ritz for Avon Books) was published. Vein, Doubleday published The Arrival of B. King by Charles Sawyer, in 1980.

Continues to tour extensively, averaging over 250 concerts per year around the world. Classics such as Payin The Cost To Be The Boss, The Thrill Is Gone, How Blue Can You. Get, Every Day I Have The Blues, and Why I Sing The Blues are concert (and fan) staples. Over the years, the Grammy Award-winner has had two #1 R&B hits, 1951s Three Oclock.

Blues, and 1952s You Dont Know Me, and four #2 R&B hits, 1953s Please Love Me. 1954s You Upset Me Baby, 1960s Sweet Sixteen, Part I, and 1966s Dont Answer The. S most popular crossover hit, 1970s The Thrill Is Gone, went to #15 pop.

"King of the Blues" B. King began as a disc jockey in Memphis before finding fame as a blues and R&B guitarist, with hits like The Thrill Is Gone. After serving in World War II, Riley B. King, better known as B. King, became a disc jockey in Memphis, Tennessee, where he was dubbed the Beale Street Blues Boy.

" That nickname was shortened to "B. And the guitarist cut his first record in 1949. He spent the next several decades recording and touring, playing more than 300 shows a year. An artist of international renown, King worked with other musicians from rock, pop and country backgrounds. He won his 15th Grammy Award in 2009. A singer and guitarist born into a sharecropping family on September 16, 1925, in Itta Bena, Mississippi, King became one of the best-known blues performers, an important consolidator of blues styles, and a primary model for rock guitarists. Following his service in the U. Army, he began his career as a disc jockey in Memphis, Tennessee, where he was dubbed the Beale Street Blues Boy. " That nickname was soon shortened to "B. King made his first recording in 1949, and the next year began a 12-year-long association with Kent/RPM/Modern, for which he recorded a string of rhythm and blues hits, including "You Know I Love You, " "Woke Up This Morning" and "Three O'Clock Blues, " which reached No. 1 on the R&B charts and became his first national hit. He also toured the nightclub circuit continuously, averaging more than 300 shows annually for over 30 years. His style of music earned him the title King of the Blues. King's Life in Photos. Coincidentally, the year that King made his first recording was also the same year that he named his beloved guitar. King attended a dance in Twist, Arkansas, that had a barrel lit with kerosene in the middle of the dance floor, used to keep the crowd warm late at night. While there, a fight broke out and the barrel was knocked over, causing a fire to spread throughout the venue.

Everyone evacuated, including King, but he rushed back inside to retrieve his prized guitar. Luckily, he managed to escape with his guitar as the building collapsed around him.

King later learned that the fight erupted because of a woman who worked at the venue named Lucille. From then on, King named his guitar "Lucille" to remind himself never to do anything so foolish again.

In 1962, King signed with ABC Records, which released Live at the Regal (1965), a benchmark blues concert album. In 1969, he released his biggest hit single, The Thrill is Gone. The first bluesman to tour the Soviet Union in 1979, by this time he had also become the first bluesman to enter the pop mainstream, making regular appearances in Las Vegas, Nevada and on network television. King also found commercial success with the many collaborations he made over the years, including with artists Eric Clapton, Elton John, Sheryl Crow, Van Morrison and Bonnie Raitt.

In 1987, King was inducted into the Rock and Roll Hall of Fame. One of music's best-regarded performers, King picked up the Grammy Award for Best Traditional Blues Album in 2006 for his duets album 80, having won the award multiple times over the decades. Later that year, he received the Presidential Medal of Freedom from President George W. The legendary singer and guitarist also became the subject of his own museum, which opened its doors in 2008. King Museum and Delta Interpretive Center in Indianola, Mississippi, is dedicated to King's music, the music which influenced him, and the history of the delta area.

Also in 2008, King released his album One Kind Favor to critical acclaim. He did his own take on songs by John Lee Hooker, T-Bone Walker and Lonnie Johnson, earning yet another Grammy Award for his efforts, marking his 15th win. In February 2012, King played a special gig at the White House with Buddy Guy and others.

He and his fellow performers were accompanied by President Barack Obama on the song Sweet Home Chicago. King played more than 250 concerts per year well into his 70s. In his 80s, the number of tour dates the guitarist booked were more limited in number. His health had been deteriorating over the past few years.

After a shaky concert in April 2014 at the Peabody Opera House in St. Louis, fans voiced their concern about King on social media saying he appeared to be suffering from Alzheimers disease or dementia. After that show, the blues legend issued a public apology for his erratic performance.

In October 2014, the 89-year old fell onstage during a performance at Chicagos House of Blues and canceled several upcoming gigs. In a statement issued on his web site after the fall, it said the singer had been diagnosed with dehydration and suffering from exhaustion. But no matter where he was, King had his signature guitar "Lucille" in his hands. While in hospice care, King died in his sleep on May 14, 2015, in Las Vegas, Nevada, leaving behind an enduring musical legacy. In the days following Kings death, his daughters Karen Williams and Patty King said they believed King's manager LaVerne Toney and personal assistant Myron Johnson had poisoned their father. "I believe my father was poisoned and that he was administered foreign substances to induce his premature death, " the daughters said in identical affidavits. I believe my father was murdered. A lawyer for Kings estate released a statement, saying, The allegations are baseless and unfounded and are unsupported in reality. Toney did everything she could to carry out the wishes of Mr. King while he was alive, and continues to carry out Mr. King's wishes after his death. On May 27, 2015, thousands of fans lined Beale Street in Memphis, Tennessee to watch a funeral procession in honor of the late blues legend, who was nicknamed the Beale Street Blues Boy. King was be buried in Indianola, Mississippi, his hometown, on May 30. The item "ERNEST WITHERS PHOTO 8X10 AFRICAN AMERICAN ARTIST PHOTOGRAPHER B. KING" is in sale since Thursday, November 5, 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, China, 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, Switzerland, Norway, Saudi arabia, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Brazil, 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, Liechtenstein, Sri lanka, Luxembourg, Monaco, Macao, Martinique, Maldives, Nicaragua, Oman, Peru, Pakistan, Paraguay, Reunion, Viet nam, Uruguay.

  1. Width (Inches): 10
  2. Listed By: Dealer or Reseller
  3. Subject: B. KING
  4. Originality: Original
  5. Size: Small (up to 12in.)
  6. Height (Inches): 8
  7. Artist: ERNEST WITHERS
  8. Color Type: Black & White
  9. Style: Vintage

Ernest Withers Photo 8x10 African American Artist Photographer B. B. King    Ernest Withers Photo 8x10 African American Artist Photographer B. B. King