ARTS & LITERARY ARTS RESIDENT FELLOWS PROGRAM
1. What is the purpose and goal of your project? (250 words)
During my Bellagio Residency, my goal is to examine formal and informal aspects of this creative relationship during the 1961-71 period, when Baldwin and Delaney intermittently lived together in France and Turkey. Focusing on shared characteristics of their work, I will explore similarities in their creative practices. Baldwin was a teenager when Delaney began teaching him about light. “It was humbling,” the writer recalled, “to be forced to realize that the light fell down from heaven, on everything on everybody and that the light was always changing.” Delaney was plagued by psychological problems throughout his adult life. After one hospitalization, the painter wrote to Henry Miller about moving from his sickness to “enlightenment…morning [light] comes after the darkest night.” Painting with light involved more than analyzing color and tone and loading his canvases with rapid paint-laden brushstrokes for Delaney. Light was a means of transcendence—something artists in traditional cultures, as well as modernists like Delaney, sought in the act of painting. My research suggests that, within their respective disciplines, Baldwin and Delaney both explored light as a path to greater consciousness and, in doing so, fueled each other’s creative
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My exhibitions have positioned Black artists and their works in a wider spectrum of American art production by articulating and offering other contexts for their works beyond their race through noteworthy exhibitions curated at and for Black museums. Publications accompanied most of the exhibitions. The exhibitions and publications served to increase the profile of the museums, improve their cultural sustainability in the minds of visitors and supporters, and enhance the livelihood of residents the respective communities where the museums were
In the preface of Lawrence Levine’s Black Culture and Black Consciousness, he establishes two endeavors that his text was intended to accomplish. The first of these was to accurately analyze the history of the general African American population from the antebellum period to the 1940’s. It was Levine’s hope to “write a history of thought of a people who have been too largely neglected and too consistently misunderstood”(xxvii). It was his goal to give a perspective on the history of African Americans that was closer to the truth than those that are most often portrayed by historians. Lawrence Levine also introduces in his preface the idea that historians are often limited by their bias towards sources that are easily acquired and have been
They both seeks freedom from the traditional art’s narrative and description of the literal visual world. Trying to free painting from the limitation of representational association, Wright focus on the juxtaposition and reverberation of pure primary and secondary
Explain Nathan Huggins understanding of the historical development of Black Studies. Nathan Huggins describes the changes over several decades for the historical development of Black Studies. During these eras, there were three major objectives for Black Studies from scholars, administrators, and students alike, felt the need to address “the political need for turf and place, the psychological need for identity, and the academic need for recognition”. In the fifties, Afro-American Studies was called “Negro history” (p. 325) and was considered “a subfield of American history” (p. 325) because there was a lack of recognition for the scholars in the field.
The visual arts was another arena in which African Americans strove to preserve and exhibit their culture and traditions, and contribute to their growth as a race. Renowned painters such as Aaron Douglas, Palmer Hayden, Archibald Motley, and Jacob Lawrence used unique artistic styles, such as “bold shapes and vivid colors” (), to produce works that exemplified racial dignity, depicted the everyday social life of the urban black working-class, interpreted black folklore, and portrayed
Weeksville Heritage Center This semester I had the opportunity to visit the Weeksville Heritage Center located in Crown Heights, Brooklyn. The Weeksville Heritage Center is Brooklyn 's largest African-American cultural institution. Weeksville is both a museum and a preserved historical site where free black people formed a thriving community at the height of slavery in the United States. It is historically significant because Weeksville was one of the first free Black communities prior to the Civil War that not only provided a place to call home, but also a sense of community and agency that appeared impossible for both bonds people and free men in the time of slavery.
Though I pride myself to be a student of history, I sadly know little about the life of Fredrick Douglass. His essay, “Learning to Read”, beautifully captured the significance of knowing how to read, and the obstacles that Douglass had to navigate through in order to learn how to read. Visiting the African American History museum’s exhibit on Fredrick Douglass elected me further my knowledge about the life of Fredrick Douglass, and acted as a nice companion to his essay. What shocked me the most when visiting the museum was the role that Douglass placed on photography as a tool for social reform. Douglass believed that by taking photos, most common self-portraits, he would tear apart the societal norms about what white Americans thought African
When there are more whites in a country than blacks and the whites were not willing to be near to the blacks, it means that there will be lesser audiences. Nonetheless, Alvin Ailey was willing to try. Ailey said that one of America’s richest treasures was the African-American cultural heritage —“sometimes sorrowful, sometimes jubilant, but always
Blues music was the driving force of the entertainment industry during the 1920s. Originating in the Southern United States of America after Reconstruction ended, blues music was first created by African American communities. It remained a predominately Black form of entertainment until it was brought mainstream by Black women blues singers such as Bessie Smith and Ma Rainey. These artists and other blues singers were the most popular artists of the 1920s and brought much success to the record labels and producers that they worked with. Despite the accomplishments of these artists, they were often subject to exploitation and mistreatment by the same companies.
In contrast, in the book The Glass Castle by Jeannette Walls, Lori, Jeannette’s older sister became an artist. It was her childhood dream and she pursed it to the end. In contrast to my approach, Lori avidly strived to be an artist despite what others would say. “‘I’m only telling you this because I love you,” he said, (Lori’s father) “ And I don’t want to see you hurt’”
AMS 251 Paper #2: Advise for the Curation of Smithsonian NMAAHC In order to understand the story of America’s history one must attempt to comprehend the complexity of the history and culture of African Americans, a people who arguably should be given the credit for the profound success America has achieved since its inception in 1776. It is impossible to faultlessly encompass an entire race’s culture and history into a single, physical structure, let alone one as rich as African American’s, but it is important to transform the NMAAHC into a vessel that provides a bridge between the masses and the unfiltered history of African Americans. In order to shape the museum’s role, it is important that the museum act as an introspective tool for all
In his essay “Coming into language” Jimmy Baca uses the image of light as a controlling metaphor to express his creativity as a writer. Many times in writing light is seen as a symbol of re-birth, to represent cleansing, and also to represent a revelation. The image of light is often associated with the visionary world of creative genius. This essay will highlight the different ways Baca uses light to express his creativity, and how language helped to steer him in the right direction, away from the darkness. Growing up and throughout his life Jimmy Baca had always faced hardships.
“Brothers” is a piece that in the vain of my greater body of work in which I remake studio portraits from the late 1800s. The source of the artist’s portraits is The Exhibition of American Negroes organized by W.E.B. Du Bois and Thomas Calloway for the 1900 Paris International Exposition. The exhibition was a photographic, economic, and legislative survey of middle-class blacks in Georgia. To enact a transition, I re-imagine their form as photographs, physical presence, and relationships with viewers, and for the piece “Brothers” to each other. The Brothers are floating on top of solidified liquid, staring at each other, passively engaging one other as they are suspended in space.
Prior to World War I, black painters and sculptors had rarely concerned themselves with African American subject matter. By the end of the 1920s, black artists had begun developing styles related to black aesthetic traditions or folk art (Chambliss). As African art became well known in Western art circles, West African cultural models gained importance for black American artists. Many of these artists produced their best work in the 1930s and helped cultivate the next generation. New York City became a centre of art education with new galleries, schools, and museums, including the Museum of Modern Art, which was founded in 1929 (Chambliss).
Heart of Darkness by Joseph Conrad gives us a story of how light is different from dark – like good and evil, and black and white – and the irony that lies behind the words. The story revolved around Marlow and his interest in an ivory-selling agent Kurtz. The central subjects of the novella include civilization and savage, colonialism, and racism. “Light” and “darkness” were the major symbolisms used by Conrad in this novella, and along the way the terms were also used ironically. Light came in the form of the river – always on the move yet unpredictable, just like how human spirit is.
In the 18th century, another one of the greatest artist of all time, Vincent Van Gogh illustrated a very personal painting. The Starry Night is now one of the most widely known paintings in the world, but the story and meaning is not. Both artist used dark and grim themes when it came to their creations, and that is what draws the public to them. In today 's society we are able to relate to the deeper and more mentally touching symbols of these pieces of art. Andrew Wyeth’s painting, Christina’s World shows a young woman in a empty field looking up at a grim farmhouse on a rustic summer day.