From its origins in early eighteenth century slave communities to the end of the twentieth century, African American art has made a vital contribution to the art of the United States. African American Art provides a major reassessment of the subject, setting the art in the context of the African American experience. Here, Patton discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art, sculptures, paintings, and photography during the 1800s. She also examines the New Negro Movement of the 1920s, the era of Civil Rights and Black Nationalism during the 1960s and 70s, and the emergence of new black artists and theorists in the 1980s and 90s. New evidence suggests different ways of looking at African American art, confirming that it represents the culture and society from which it emerges. Here, Patton explores significant issues such as the relationship of art and politics, the influence of galleries and museums, the growth of black universities, critical theory, the impact of artists collectives, and the assortment of art practices since the 1960s. African American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.

African-American Art (Oxford History of Art)

Arts & Photography

Patton, Sharon F.

History & Criticism

Oxford University Press

From its origins in early eighteenth century slave communities to the end of the twentieth century, African-American art has made a vital contribution to the art of the United States. African-American Art provides a major reassessment of the subject, setting the art in the context of the African-American experience. Here, Patton discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art, sculptures, paintings, and photography during the 1800s. She also examines the New Negro Movement of the 1920s, the era of Civil Rights and Black Nationalism during the 1960s and 70s, and the emergence of new black artists and theorists in the 1980s and 90s. New evidence suggests different ways of looking at African-American art, confirming that it represents the culture and society from which it emerges. Here, Patton explores significant issues such as the relationship of art and politics, the influence of galleries and museums, the growth of black universities, critical theory, the impact of artists collectives, and the assortment of art practices since the 1960s. African-American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.

This catalogue documents a retrospective exhibition on the Afro-American artist Romare Bearden (1914-1988), held at the Studio Museum, Harlem, USA. About 100 prints, drawings and paintings were displayed, ranging from the cubist figurative pieces of the 1940s, to the lyrical abstract works of the 1950s and 1960s, to the later collages Bearden created. The catalogue depicts in colour about 25% of the works in the exhibition. An essay by Sharon Patton focuses on the themes, styles and iconography, examining Bearden's work within the context of American art, jazz, myth and spirituality.

Memory and Metaphor: The Art of Romare Bearden 1940-1987

Campbell, Mary Schmidt

Bearden, Romare

Individual Artists

When the prolific African American artist Romare Bearden died in 1988 at age 76, there had not been a full retrospective of his work in seventeen years. In April 1991, however, The Studio Museum in Harlem is planning a major exhibition that will offer a survey of the entire spectrum of Bearden's paintings--from the cubist figurative pieces of the 40s, through the lyrical abstractions of the 50s and early 60s, to the brilliant later collages. After opening in Harlem, the exhibition will travel to Chicago, Los Angeles, Atlanta, Pittsburgh, and Washington, D.C. It is especially appropriate that the retrospective is being organized by The Studio Museum. Throughout his life, Bearden loved and revered Harlem, and was closely connected with the Museum, serving on its Curatorial Council and attending many of its events and programs. Here, Bearden was able to interact with younger artists, as well as writers and musicians, and his influence is felt in much of their work (August Wilson's play The Piano Lesson, for example, is named for one of Bearden's paintings). This catalogue--with a twenty-four page section of beautiful full-color plates--is very nearly as sumptuous a record of Bearden's life and work as the exhibition itself. The Museum's director, Kinshasha Holman Conwill, has written the Introduction, Dr. Mary Schmidt Campbell, the foremost authority on Bearden, has written an essay, and Dr. Sharon F. Patton, the Chief Curator, has contributed an important essay focusing on the themes, styles, and iconography in Bearden's work. In addition to the color plates the text is supported throughout by seventy-eight black-and white illustrations. It also includes a biography of the artist and a selected bibliography, making it essential for scholar and museum-goer alike. Romare Bearden: A Retrospective offers us an extraordinary opportunity to learn how a great artist developed over time. And it also allows us to see how Bearden's work, while thoroughly grounded in the values of the African American tradition, transcends cultural boundries as it speaks powerfully as an art of its time.

Discretion

Literature & Fiction

Ishai Creative Group Inc

See the best price to sell, buy, or rent books by Patton, Sharon F.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Patton, Sharon F.

See the best price to sell, buy, or rent books by Patton, Sharon F.. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

African-American Art (Oxford History of Art)

African-American Art (Oxford History of Art)

Memory and Metaphor: The Art of Romare Bearden 1940-1987

Memory and Metaphor: The Art of Romare Bearden 1940-1987

Discretion