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It’s a Black thing -- you wouldn’t understand : the Wall of Respect, Africobra, and the birth of a new aestheticPhillips, James Wellington 11 1900 (has links)
During the late 1960's in America, Black people began to realize the failures of the Civil
Rights Movement. Their previous desire for non-violent integration, -which had sparked
behavior in the white community ranging from violent opposition to benign neglect—had
radicalized to embrace a notion of separatism and liberation from America. Black
Cultural Nationalism called for Black Power and an affirmation of the currency of Black
culture that required representation. The Black Arts Movement attempted to meet these
needs by attempting to establish a Black Aesthetic. Qualities of Black art and the Black
aesthetic were hotly debated in the media as both black and white writers argued the
relevancy of black art. The Black aesthetic advocated a return to figuration and social
realism, deemed essential to communicate with the black masses, as well as an
espousal of the political responsibility of the artist. The critique of a black art was based
on the argument that the category ghettoized and essentialized black artists. Instead a
Greenbergian modernist aesthetic was embraced that favored abstraction over
figuration, perceiving figurative art as low art. This was the dilemma faced by the
politically minded artist in Franti's lyric. How can an artist make aesthetically valid art and
maintain its access—and relevancy to Black people. An articulation of these black
cultural problems needed a specific visual vocabulary.
In my paper I will examine the art coalition called Africobra—The African Commune of
Bad Relevant Artists- as they attempted to negotiate the fine line between socially
relevant and aesthetically viable art. Formed in Chicago in the wake of the 1968
Democratic Convention Riots, Africobra wanted to produce and exhibit art specifically for
Black people without their art being dismissed as protest art. By merging their figurative
art with African color schemes and textile patterns, Africobra aspired to create their own
type of African-influenced social commentary. They chose Africa as a source of pride as
the 'dark continent' had recently shed its colonial ties to emerge as a free land for Black
people. Africa thus represented ties to a forgotten past, and hope for an independent
future for American Blacks.
My thesis will focus on an event that galvanized the Black Arts Movement, and brought
together the artists that would later form Africobra. That event was the 1967 creation of
the Wall of Respect, a public mural on the south side of Chicago that depicted images of
Black heroes and contemporary politics. Using the mural as well as Africobra prints and
paintings, I will argue that their work questioned conventional aesthetics and endeavored
to create a space for a new black aesthetic. This merging of social realism and African
color was made more poignant by the inclusion of African notions of the functional
communal object. By returning to their African roots, Africobra was critiquing the
Western art world while glorifying their own heritage. By doing this they believed that
they could inject some much needed color into White America.
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A comparative analysis of the characteristics of works and aesthetic philosophies of selected contemporary mainstream and blackstream Afro-American artistsSpellman, Robert Clarence. January 1973 (has links)
Thesis--New York University, 1973. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 419-434).
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Roots of African-American art the early years through the 1930s : a thesis in art education /Hubbard, Carole Ann Challberg. January 1987 (has links)
Thesis (Ph. D.)--Pennsylvania State University, 1987. / Includes bibliographical references (p. 119-125).
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It’s a Black thing -- you wouldn’t understand : the Wall of Respect, Africobra, and the birth of a new aestheticPhillips, James Wellington 11 1900 (has links)
During the late 1960's in America, Black people began to realize the failures of the Civil
Rights Movement. Their previous desire for non-violent integration, -which had sparked
behavior in the white community ranging from violent opposition to benign neglect—had
radicalized to embrace a notion of separatism and liberation from America. Black
Cultural Nationalism called for Black Power and an affirmation of the currency of Black
culture that required representation. The Black Arts Movement attempted to meet these
needs by attempting to establish a Black Aesthetic. Qualities of Black art and the Black
aesthetic were hotly debated in the media as both black and white writers argued the
relevancy of black art. The Black aesthetic advocated a return to figuration and social
realism, deemed essential to communicate with the black masses, as well as an
espousal of the political responsibility of the artist. The critique of a black art was based
on the argument that the category ghettoized and essentialized black artists. Instead a
Greenbergian modernist aesthetic was embraced that favored abstraction over
figuration, perceiving figurative art as low art. This was the dilemma faced by the
politically minded artist in Franti's lyric. How can an artist make aesthetically valid art and
maintain its access—and relevancy to Black people. An articulation of these black
cultural problems needed a specific visual vocabulary.
In my paper I will examine the art coalition called Africobra—The African Commune of
Bad Relevant Artists- as they attempted to negotiate the fine line between socially
relevant and aesthetically viable art. Formed in Chicago in the wake of the 1968
Democratic Convention Riots, Africobra wanted to produce and exhibit art specifically for
Black people without their art being dismissed as protest art. By merging their figurative
art with African color schemes and textile patterns, Africobra aspired to create their own
type of African-influenced social commentary. They chose Africa as a source of pride as
the 'dark continent' had recently shed its colonial ties to emerge as a free land for Black
people. Africa thus represented ties to a forgotten past, and hope for an independent
future for American Blacks.
My thesis will focus on an event that galvanized the Black Arts Movement, and brought
together the artists that would later form Africobra. That event was the 1967 creation of
the Wall of Respect, a public mural on the south side of Chicago that depicted images of
Black heroes and contemporary politics. Using the mural as well as Africobra prints and
paintings, I will argue that their work questioned conventional aesthetics and endeavored
to create a space for a new black aesthetic. This merging of social realism and African
color was made more poignant by the inclusion of African notions of the functional
communal object. By returning to their African roots, Africobra was critiquing the
Western art world while glorifying their own heritage. By doing this they believed that
they could inject some much needed color into White America. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate
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The infusion of African-American art from eighteen-eighty to the early nineteen-nineties for middle and high school art education /Claxton, Ronald Wayne January 1997 (has links)
No description available.
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Transforming "blackness" "post-black" and contemporary hip-hop in visual culture /Sunami, April J. January 2008 (has links)
Thesis (M.A.)--Ohio University, August, 2008. / Title from PDF t.p. Includes bibliographical references.
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Stella Jones Gallery: organizational analysis and suggested marketing planOlidge, Kara Tucina 01 July 2000 (has links)
Stella Jones Gallery: An Organizational Analysis and Suggested Marketing Plan is based on my internship as Managing Director of Stella Jones Gallery. The internship report will focus on 1. Analyzing the organizational structure and cultures of Stella Jones Gallery as it relates to the internship and 2. Creating a marketing plan to support, expose, and expand the mission of the organization. Because of the report's objectives, the internship report has been segmented into the following sections: Part I: Organizational Analysis Stella Jones Gallery's organizational structure and culture will be analyzed to determine the effectiveness and efficiency of its methods and practices. Through the analysis, a description and evaluation of my internship as Managing Director will be provided to discuss the overall effectiveness of the position. It will also discuss the position's contribution to the strengths and weaknesses of the organization. This section will be immediately followed by suggestions in management and staffing as well as ways in which the organization can redefine and strengthen its organizational culture. Part II: Suggested Marketing Plan At the time of the internship, Stella Jones Gallery had been in existence for three and a half years and is emerging as one of the leading African-American galleries in the southeast region of the United States. The gallery has been very fortunate to have reviews in highly regarded magazines such as Art Business News, Art and Antiques, and the International Review of African-American Art. It has not, however, established a strategic marketing plan to propel the gallery to the forefront of the commercial arts industry. The marketing plan created will suggest ways the gallery can capitalize on the medial attention it has received. Secondly, it will illustrate how the gallery can promote and establish its product within the commercial arts industry and non-profit sector of the visual arts. Finally, it offers ways in which the gallery can forge ahead of its competition by offering on-line as well as curatorial and educational services. The issues addressed and suggestions made are to help Stella Jones Gallery reach its potential as a leading art organization. In conclusion, this report will note any changes or improvements made in the gallery's management practices, staff, and marketing strategies as a result of the suggestions offered.
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Educating black youth moral principles through black artBuchanan, Mariah Spann. January 2008 (has links) (PDF)
Thesis (Ed.D.)--Georgia Southern University, 2008. / "A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Under the direction of Ming Fang He. ETD. Electronic version approved: May 2008. Includes bibliographical references (p. 203-215) and appendices.
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African-American visual artists and the Harmon Foundation /Malloy, Erma Meadows. January 1991 (has links)
Thesis (Ed. D.)--Teachers College, Columbia University, 1991. / Typescript; issued also on microfilm. Dissertation Committee: Ellen Condliffe Lagemann, Labros Comitas. Includes bibliographical references (leaves 118-123).
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Searching for the Transatlantic Freedom: The Art of Valerie MaynardGetty, Karen Berisford 01 January 2005 (has links)
This thesis focuses on an African-American female artist, Valerie Maynard, examining how she synthesizes African and American elements in her works. It provides detailed formal and iconographical analyses, revealing concealed meanings and paying special attention to those works with which the artist mirrors the Black experience in the United States and Africa on the other side of the Atlantic. In the process, the thesis sheds new light on the significance of Valerie Maynard's work and how she has used some of them to embody the Black quest for freedom and social justice during the Civil Rights struggle of the 1960s and 1970s and beyond.
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