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Gwendolyn DuBois Shaw explores African American art and representation from the height of the British colonial period to the present, seeking out the recovery of facts and narratives of African American creativity and self-representation that have been purposefully set aside, actively ignored, and disremembered.
List of contents
List of Illustrations ix
Acknowledgments xiii
Introduction 1
Part I. Past As Prelude 15
1. Facing Phillis Wheatley: Portraiture and Publishing in the Era of the American Revolution 19
2. Profiling Moses Williams: Silhouettes and Race in the Early Republic 42
3. The Freedom to Marry for All: Painting Interracial Families During the Era of the Civil War 62
4. Landscapes of Labor: Race, Religion, and Rhode Island in the Painting of Edward Mitchell Bannister 73
Part II. Modern Blackness 85
5. “This Gifted Sculptress of the Race”: The Intersectional Art of May Howard Jackson 91
6. Singing Saints: Sargent Johnson’s Modern Blackness 111
7. Norman Lewis’s
Dan Mask: The Challenge of the African “Thing” in the 1930s 127
8. “Bolshevized by Conditions”: African American Artists and Mexican Muralism 135
9. Malcolm X Rising: Barbara Chase-Riboud’s Phenomenological Art 144
10. Richard Yarde’s Mojo Blues 161
Part III. Beginning Again 187
11. Remembering the Remnants: Contemporary Art and Hurricane Katrina 191
12. The Wandering Gaze of Carrie Mae Weems’s
The Louisiana Project 203
13. Ten Years of
30 Americans 213
14. “No Man Is an Island”: The Diasporic Performances of Wanda Raimundi-Ortiz and Sheldon Scott 229
15. What Deana Lawson Wants 237
Notes 247
Bibliography 277
Index 289
About the author
Gwendolyn DuBois Shaw
Summary
Gwendolyn DuBois Shaw explores African American art and representation from the height of the British colonial period to the present, seeking out the recovery of facts and narratives of African American creativity and self-representation that have been purposefully set aside, actively ignored, and disremembered.
