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1	Elizabeth Catlett's I Am the Negro Woman: Emerging from the Margins Gottwald, Margaret 29 April 2011 (has links) This art historiographical study focuses on African American artist Elizabeth Catlett’s linocut series I Am the Negro Woman, composed of fifteen images and executed in 1947 while Catlett was a visiting artist at the Taller de Graphica Popular in Mexico City. The series was exhibited shortly thereafter at the Barnett Aden Gallery in Washington, D.C., only to be largely marginalized by the art historical discourse of the following twenty-five years; however, during the Civil Rights Movement, a renewed interest in Catlett and her works began to develop. Later Feminist and Post-colonial art historians, seeking to widen the narrow mid-twentieth century canon, incrementally began to address these images in accordance with their respective interests, expanding the scholarship and increasing the exhibition of the series. The reputation of these images continues to grow, moving I Am the Negro Woman out of the margins of the art historical discourse into a more valued and recognized position. Catlett historiography linocut Black artist I Am the Negro Woman Arts and Humanities
2	My Family of Women: Celebrating Blackness and Exploring Themes of Black Feminism Tupper, Denise 01 January 2013 (has links) This paper maps themes (e.g. family, beauty, femininity, gender, blackness, representation) and artists from the Black arts and Feminist art movement who have been very influential when planning this senior art project. I specifically look at the works of Black feminist artists such as Betye Saar, Faith Ringgold, Carrie Mae Weems, Kara Walker, and Mickalene Thomas who navigate themes from both movements. In my project I have painted a series of interpretive acrylic portraits of close friends and family members, all adapted from photographs. Art Painting Feminist Art Black Artist Black Feminism Family Art and Design Art Practice Fine Arts
3	MY EYES DUE SEE Barfield, Johannes J 01 January 2018 (has links) My Eyes Due See is a multidimensional examination of the “black experience” in America. The installation is composed of a single-channel video, a music composition that utilizes music samples and live instrumentation, and sculptures made up of car parts and broomsedge grass. Each of these elements arranged in space share a nuanced and complicated view of blackness through the lens of a black man decoding personal history and American history simultaneously. Autonomy is the overarching theme throughout the work as it pertains to race, identity, urban and rural environments, and the relationship between generational trauma and nostalgia. Johannes James Barfield Johannes Johannes Barfield Barfield my eyes due see black video artist black artist road street asphalt fluorescent lights fluorescent forensic rod forensic trajectory rod rods automotive car parts road marking tape broomsedge ballistic trajectory rods grass objective reasonableness amplification nullification southern pine asphalt impregnated board Audio Arts and Acoustics Composition Fine Arts Interdisciplinary Arts and Media Other Film and Media Studies Sculpture

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