CONTEMPORARY ART MOVEMENTS

PUBLISHER
D.A.P./Tate

BOOK FORMAT
Hardcover, 8.5 x 10 in. / 256 pgs / 203 color / 33 bw.

PUBLISHING STATUS
Pub Date
Active

DISTRIBUTION
D.A.P. Exclusive
Catalog: FALL 2017 p. 3   

PRODUCT DETAILS
ISBN 9781942884170 TRADE
List Price: $39.95 CDN $53.95

AVAILABILITY
In stock

EXHIBITION SCHEDULE

London, UK
Tate Modern, 7/12/17–10/22/17
Bentonville, AR
Crystal Bridges, 02/02/18–04/23/18
New York
Brooklyn Museum, 09/07/18–02/03/19

The Civil Rights, Black Power, and Black Feminism movements challenged artists to portray the African American fight for equality and power. Soul of a Nation documents over 200 artworks -- from painting to performance -- by some 60 artists working both individually and within groups like AfriCOBRA and the Black Arts Movement. The history of art in America is incomplete without the stories of the Black American artists working during this period of radical change.

“Soul of a Nation” opened on July 12, exactly a month before violence erupted in Charlottesville, Va., leaving a woman dead and many injured after clashes between white nationalists — including Klan members and neo-Nazis — and counter-protesters. But “Soul of a Nation” highlights art made by African-American artists between 1963 and 1983, 20 years that saw the emergence of the civil rights movement and the more militant call for black power.
“We didn’t anticipate that there would be such clear links between our show and contemporary events,” said Mark Godfrey, who curated the exhibition with Zoe Whitley. “A number of our visitors have remarked on it; it makes it even more shocking that some of the dreams of the civil rights leaders haven’t been realized.” - The New York Times

BOOKSELLER TRADE ANNOTATION

African American art in the era of Malcolm X and the Black Panthers
  • ABOUT THE BOOK: Surveys 1963-1983 African American Art on the 50th Anniversary of the term "Black Power" (coined by Stokely Carmicheal).Art made in the context of politics including the March on Washington, the Watts Riots, and the Black Panthers.Artists include Barkley L. Hendricks, Betye Sayer, Romare Bearden, David Hammons, Faith Ringgold, Emory Douglas, Sun Ra.
  • PRESS & PROMOTION: The book is published in conjunction with a major international exhibition opening at the Tate in London in Fall 2017 and travelling to the Brooklyn Museum, September 7th, 2018 - February 3rd, 2019 . Show at Tate opened to rave reviews:

    “Civil rights meet aesthetics in this riveting survey of 20 crucial years of black American art and struggle” -- The Guardian

    "The Black Power movement was more than just a protest group; it was a watershed moment in American history and a coming-together of enormous importance and influence -- not just socially and politically, but culturally and artistically as well.”--CNN Style

    "At London’s flagship modern art gallery, Tate Modern, one of this summer’s most lauded exhibitions features work by African-American artists made in the age of Martin Luther King Jr. Yet, while “Soul of a Nation” is nominally a historical display, gallery goers spilling out of the show this week found an obvious contemporary resonance to the art they had just seen."--The New York Times

  • There is no other illustrated book on this topic
  • A great visual companion to the book from the Smithsonian National Museum of African American History and Culture, Dream a World Anew: The African American Experience and the Shaping of America
  • American contributors include Susan Cahan (Yale) author of Mounting Frustration: The Art Museum in the Age of Black Power (Duke University Press, 2016) and David Driscoll, a curator of African American Art
  • WEST COAST INTEREST: Features Emory Douglas' graphic art from Oakland CA based Black Panthers, Noah Purifoy's Watts Tower Art Center, and the Los Angeles based Black Arts Council among others.

  

D.A.P./TATE

Soul of a Nation

Art in the Age of Black Power

Edited with text by Mark Godfrey, Zoé Whitley. Contributions by Linda Goode Bryant, Susan E. Cahan, David Driskell, Edmund Barry Gaither, Jae Jarrell, Wadsworth Jarrell, Samella Lewis.

Featured image is reproduced from 'Soul of a Nation.'

African American art in the era of Malcolm X and the Black Panthers

In the period of radical change that was 1963–83, young black artists at the beginning of their careers confronted difficult questions about art, politics and racial identity. How to make art that would stand as innovative, original, formally and materially complex, while also making work that reflected their concerns and experience as black Americans?

Soul of a Nation surveys this crucial period in American art history, bringing to light previously neglected histories of 20th-century black artists, including Sam Gilliam, Melvin Edwards, Jack Whitten, William T. Williams, Howardina Pindell, Romare Bearden, David Hammons, Barkley L. Hendricks, Senga Nengudi, Noah Purifoy, Faith Ringgold, Betye Saar, Charles White and Frank Bowling.

The book features substantial essays from Mark Godfrey and Zoe Whitley, writing on abstraction and figuration, respectively. It also explores the art-historical and social contexts with subjects ranging from black feminism, AfriCOBRA and other artist-run groups to the role of museums in the debates of the period and visual art’s relation to the Black Arts Movement. Over 170 artworks by these and many other artists of the era are illustrated in full color.

2017 marks the 50th anniversary of the first use of the term “black power” by student activist Stokely Carmichael; it will also be 50 years since the US Supreme Court overturned the prohibition of interracial marriage. At this turning point in the reassessment of African American art history, Soul of a Nation is a vital contribution to this timely subject.


Featured image is reproduced from 'Soul of a Nation.'

PRAISE AND REVIEWS

The Guardian

Jonathan Jones

Civil rights meet aesthetics in this riveting survey of 20 crucial years of black American art and struggle ... uncovers an entire lost history of American art.

The Telegraph

Mark Hudson

This is a rich, absorbing and thought-provoking exhibition with enough themes and ideas to power three shows its size … this is an epic response to an epic subject and without doubt one of the shows of the year.

CNN

The Black Power movement was more than just a protest group; it was a watershed moment in American history and a coming-together of enormous importance and influence -- not just socially and politically, but culturally and artistically as well.

The Financial Times

The new survey of work made in two tumultuous decades of black activism reveals a prodigious range of artistic expression.

Frieze.com

Osei Bonsu

Successfully layering a broader socio-historical narrative onto a period of radical non-conformity, this is an important show, now.

Crave

Miss Rosen

A masterful catalogue published by the Tate/D.A.P., which features substantial essays that provide much-needed insights into this vastly underserved and broadly neglected period of art history.

Crave Online

Miss Rosen

Soul of a Nation: Art in the Age of Black Power is a tour-de-force, showcasing more than 150 works by over 60 artists between 1963 and 1983...[and] features substantial essays that provide much-needed insights into this vastly underserved and broadly neglected period of art history.

The Studio Museum

Thelma Golden

Soul of a Nation is a significant and transformative contribution to art history – and American history. Richly informative and deeply engaging, this volume documents the powerful role black artists had in shaping contemporary art and our society at a pivotal moment in history. It is sure to be a profoundly valuable resource … for decades to come.

New York Times

Patrick Kingsley

At London’s flagship modern art gallery, Tate Modern, one of this summer’s most lauded exhibitions features work by African-American artists made in the age of Martin Luther King Jr. Yet, while “Soul of a Nation” is nominally a historical display, gallery goers spilling out of the show this week found an obvious contemporary resonance to the art they had just seen.

Bookforum

Sara Christoph

..impresssive feat of research, presenting and contextualizing many artists who never became household names.

Socialist Review

Theresa Bennett

This is a celebration of the work of Black American artists in the 1960s and 1970s. While the art on display is inspired by the mass Civil Rights Movement in the US during that time it is incredibly poignant that the issues raised remain so relevant today.

New York Times

Roslyn Sulcas

...a sweeping look at how artists of the time responded to ideas about black identity, political activism and social responsibility.

New York Times

Roslyn Sulcas

A sweeping look at how artists of the time responded to ideas about black identity, political activism and social responsibility.

Frieze

Pernilla Holmes

[the] story of the radical, brilliant and hugely varied art made by African American artists in the political and cultural landscape of Civil Rights, Black Panthers, Blaxploitation, and other manifestations of the fight for equality in education, jobs and representation.... a diversity of aesthetics, ideas and ambition.

Artforum

Cheryl Finley

...an intense, transformative period in American art, activism, and culture, when black identity came into sharper focus and demanded to be reckoned with, while the spark of black liberation caught fire in the US, the Caribbean, and Africa.

Cutlture Type

Victoria L. Valentine

...a visual journey through the period with documentary photographs and full-color images of art and ephemera…. The curators expound upon a score of topics, from the Studio Museum in Harlem, Just Above Midtown Gallery, The Black Photographers Annual, and Emory Douglas and the Black Panther newspaper to abstraction shows, black women artists, FESTAC ’77, and the Wall of Respect and mural movement.

New York Review of Books

Nell Irvin Painter

This powerful work of documentary photography captures the momentum of the civil rights movement through one of its lesser known demonstrations.

New York Review of Books

Phillip Kennicott

The range of materials used, the breadth of ideas adumbrated, the multiplicity of strategies and techniques, the geographical diversity of the artists involved, all of this makes it difficult to contain the art with any single description, except perhaps this: Revolution.

The New York Times

Holland Cotter

Radiant and radical...defining the soul of black art.

The New York Times

Holland Cotter

Theirs is activist work not just because of its political content, or because its Pop energy makes you want to get up and dance, but also because it's so clearly designed, with its polish and flair, to inflitrate mainstream institutional space.

Culture Type

Victoria L. Valentine

Groundbreaking.

Brooklyn Daily

Alexandra Simon

It’s black and it’s beautiful.

Vice

Taylor Hosking

Each piece in the exhibit is not so much a representation of the movement as they are physical artifacts of the revolution itself.

The New York Times

Holland Cotter

Big, beautiful, passionate show of art that functioned as seismic detector, political persuader and defensive weapon.

Elle

...a deeply wonderful, playful, and moving collection of images and text that prove her achievement of something seemingly impossible: photographing the invisible.

The New York Times

Holland Cotter

More than 60 [black artists] appear in this big, beautiful, passionate show of art that functioned as seismic detector, political persuader and defensive weapon.

Soul of a Nation

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FROM THE BOOK
Excerpt from the Introduction

We begin in 1963 with the formation of Spiral, a ‘group of Negro artists’ as they called themselves, who assembled in New York to work out a shared position on what it meant to make art within the wider context of the Civil Rights movement. Soul of a Nation takes into account major events such as the March on Washington for Jobs and Freedom; the murder weeks later of four little girls in the bombing of the 16th Street Baptist Church in Birmingham, Alabama; the commanding oratory and assassinations of both Malcolm X and Martin Luther King, Jr.; the Watts Rebellion; unifying calls for Black Power and global pan-Africanism; the formation of the Black Panther Party for Self-Defense and the subsequent violent suppression of its leaders; Angela Davis’s imprisonment; and the Attica Prison uprising. Many of the illustrated artworks refer explicitly to these events and people. As important is the wider cultural landscape in which visual artists were working; where John Coltrane revolutionized jazz music, Baraka set alight the literary world with contentious poems and plays, Marvin Gaye recorded What’s Going On, and Nigeria convened what was then the largest ever pan-African arts festival.

Crucially, however, the exhibition is not organized according to a chronology of events nor framed by socio-political history. Instead, focusing on art and artists, it takes as its organizing principle different aesthetic strategies and debates circling around what it meant to be a Black artist at this time. We look at the way artist-colleagues came together in collectives and Black-owned galleries; at different approaches to art making from collage to political figuration, abstraction to assemblage, and attempts to forge a Black aesthetic in photography. We focus on artists who campaigned to ensure Black artists’ work was shown in mainstream art institutions, as well as on artists who deliberately distributed their work on the streets and who founded new museums to specifically address Black audiences. Some artists sought revolution by overturning economic and juridical power; others explored spirituality and rituals through organic materials. We conclude with Just Above Midtown, a commercial gallery run to give a platform to the Black avant-garde. As much as the exhibition emphasizes social groupings and shared aesthetics, so too it reveals disagreement and divergent positions on the very possibility of Black art.

The artists came from all over America. Though the exhibition contains rooms devoted to groups in New York, Chicago, and Los Angeles, we attend as well to Dana Chandler’s work in Boston, Emory Douglas’s work in the Bay Area, Sam Gilliam and Alma Thomas in Washington, DC. The South seems absent until one remembers that more than a third of the artists were born there, traveling as children as part of the Great Migration, or as young adults to study in the art schools and universities. Frank Bowling is the only figure not born in the United States, but in British Guiana. Having arrived in New York from London in 1966, he became a well-exhibited artist and a key polemicist in the debate over Black art.

Soul of a Nation is above all an exhibition about artists who transformed the parameters of American art. It is also about the power of Black subjectivity, of the dignity and resilience of Black people. One of the rooms is named ‘Black Heroes’ and includes images of poets, painters, everyday people and also Andy Warhol’s portrait of Muhammad Ali. Rendered in the colors of the pan-African flag, Ali’s portrait simultaneously embodies America’s cultural contradictions and greatness through its singularly extraordinary subject. Despite Ali’s peerless athletic prowess and charisma, he was stripped of his boxing title when he objected conscientiously to being drafted into the Vietnam War. Not only were Blackness and Americanness viewed as not necessarily compatible but Muslim belief and Americanness all the more. And yet in his self-belief and self-making, Ali – immortalized by an equally confident and self-made Warhol – was exported to the world as a representation of the nation at its best.
- Mark Godfrey and Zoé Whitley, Introduction

FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/16/2018

Roy DeCarava's Black abstraction in Soul of a Nation

Roy DeCarava's Black abstraction in Soul of a Nation

"Couple walking" (1979), by Roy DeCarava, is reproduced from Soul of a Nation, on view at the Brooklyn Museum. In the chapter "Notes on Black Abstraction," Mark Godfrey notes that DeCarava photographed many of his subjects from behind or on the side. "While he was taking these photographs, William Eggleston, Diane Arbus and Garry Winogrand were being feted for the sharpness of their portraits: indeed it is impossible to call to mind their work without remembering the idiosyncratic facial expressions of the subjects. So why did DeCarava photograph his subjects from behind? Arguably his intention was to eschew character studies and instead to photograph abstract concepts: community, resilience, family love and tenderness, romance, dignity, elegance. These images constitute [a] kind of Black abstraction." continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 2/5/2018

'That’s what art is; we’re the art!'

'That’s what art is; we’re the art!'

Featured image is one of 70 photographs documenting Art Is…, the 1983 performance staged by Lorraine O’Grady (aka Mademoiselle Bourgeoisie Noire) as part of the Harlem African American Day Parade. The piece was inspired by a friend’s comment, “avant-garde art doesn’t have anything to do with Black people.” Mademoiselle’s response, according to Soul of a Nation curator Zoé Whitley, was to hire 15 dancers to carry gold frames, "disembarking from the float to interact with the crowd. The performance lasted for eight hours. As the float traversed the several miles-long parade route, the parade announcer mocked, ‘They tell me this is art… I don’t understand that stuff.’ But some members of the crowd responded enthusiastically, ‘Frame me! Frame me! Make me art!’ And ‘That’s right. That’s what art is; we’re the art!’” continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 2/3/2018

Soul of a Nation… We Shall Survive. Without a Doubt

Soul of a Nation… We Shall Survive. Without a Doubt

“Revolutionary art begins with the program that Huey P. Newton instituted with the Black Panther Party,” graphic designer and Black Panther Minister of Culture Emory Douglas wrote in The Black Panther newspaper in 1970. “Revolutionary art, like the Party, is for the whole community and deals with all its problems. It gives the people the correct picture of our struggle whereas the revolutionary ideology gives the people the correct political understanding of our struggle.” Pictured here is Douglas's back cover poster for the February 17, 1970, issue of the paper, which he also designed. (Caption reads: "We shall survive. Without a doubt.") “Deploring imperialism, capitalism and police brutality, Douglas depicted police, politicians and bankers as pigs and rats,” the curators of Soul of a Nation write. “Heroic Black women fight actual rats in substandard housing. Valiant workers are shown as revolutionary soldiers. A smiling child holds his head high, wearing sunglasses whose lenses are photographs of the free breakfast program that the Party implemented to feed children of poor and working families…” continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/14/2018

"Radiant and Radical," Soul of a Nation opens at the Brooklyn Museum

David Hammons' "Black First, America Second" in Soul of a Nation

“I feel it is my moral obligation as a black artist to try to graphically document what I feel socially,” David Hammons said in 1969, one year before he made this haunting double self-portrait. Titled “Black First, America Second” (1970), this body print and silkscreen on paper presents one version of the self that “clings to the stars of the national flag,” according to Soul of a Nation originating curators Mark Godfrey and Zoé Whitley, “while the other self appears almost painfully cleaved by its stripes… [It] is an image both timely and resolutely of its time.” This work and 235 others are featured in Soul of a Nation: Art in the Age of Black Power, the exhibition catalog of the decade, published to accompany the international traveling survey that opens today at the Brooklyn Museum.
For more on the show, read "Radiant and Radical: 20 Years of Defining the Soul of Black Art," Holland Cotter's rave review in today's New York Times. continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/15/2018

It's NATION TIME! Celebrate art in the age of Black Power with 'Soul of a Nation'

It's NATION TIME! Celebrate art in the age of Black Power with 'Soul of a Nation'

“Wake Up” (1971) by Gerald Williams is reproduced from Soul of a Nation: Art in the Age of Black Power, published to accompany the blockbuster international traveling exhibition currently on view at the Brooklyn Museum. Williams was one of the original members of AfriCOBRA (the African Commune of Bad Relevant Artists), whose manifesto in part read, “It’s NATION TIME and we are now searching. Our guidelines are our people—the whole family of African people, the African family tree. And in this spirit of familyhood, we have carefully examined our roots and searched our branches for those visual qualities that are more expressive of our people/art.” continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/10/2017

Soul of a Nation featured on the cover of November ARTFORUM

Soul of a Nation featured on the cover of November ARTFORUM

Featured this month on the cover of ARTFORUM, where it is treated to a six-page review by Cheryl Finley, Soul of a Nation: Art in the Age of Black Power may be one of the most important shows of the decade. Certainly, its timing is impeccable. En route to Crystal Bridges and the Brooklyn Museum from Tate, the show, and its superb catalog—one of our top Holiday Gift Art Books of 2017—features work by major names like Romare Beardon (pictured here), as well as "a handful of works that had not seen the light of day anywhere in decades.” continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 11/12/2017

Black artist as superhero: Barkley L. Hendricks in 'Soul of a Nation'

Black artist as superhero: Barkley L. Hendricks in 'Soul of a Nation'

Barkley L. Hendricks’ riveting 1969 self-portrait—titled Icon for My Man Superman (Superman Never Saved any Black People—Bobby Seale)—is reproduced from Soul of a Nation: Art in the Age of Black Power, the catalog to the blockbuster survey coming soon to Crystal Bridges and the Brooklyn Museum. “The work’s subtitle invites a declarative statement of solidarity with the Black Panther co-founder Bobby Seale,” co-curator Zoé Whitley writes. “But Hendricks makes evident another position: here we find the Black artist as superhero, painting himself into history rather than waiting for someone else to confer the honor upon him.” One of our top Holiday Gift Art Books of 2017! continue to blog


FROM THE ARTBOOK BLOG

CORY REYNOLDS | DATE 9/16/2018

'Soul of a Nation' as seismic detector, political persuader and defensive weapon

'Soul of a Nation' as seismic detector, political persuader and defensive weapon

Emma Amos’s “Eva the Babysitter” (1973) is reproduced from Soul of a Nation, the catalog to the blockbuster survey currently on view at the Brooklyn Museum. Amos was the only female member of the New York City-based Spiral Group, which included Charles Alston, Romare Bearden and Norman Lewis, also in the show. Called "radiant and radical" by Holland Cotter in the New York Times, this landmark exhibition collects twenty years worth of "work that functioned, in its time, as seismic detector, political persuader and defensive weapon." We couldn't be prouder to have co-published the exhibition catalog. Other artists include Sam Gilliam, Jack Whitten, Howardena Pindell, David Hammons, Barkley L. Hendricks and Betye Saar, to name just a few. continue to blog


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By Massimiliano Gioni.

SKIRA

ISBN: 9788857228600 | US $45.00

Pub Date: 4/5/2016
Active | In stock


Art of the Twentieth Century and Beyond

ART OF THE TWENTIETH CENTURY AND BEYOND

By Loredana Parmesani.

SKIRA

ISBN: 9788857214085 | US $24.95

Pub Date: 11/6/2012
Active | In stock


Neoludica Art and Videogames 2011-1966

NEOLUDICA ART AND VIDEOGAMES 2011-1966

By Luca Traini, Debora Ferrari.

SKIRA

ISBN: 9788857211640 | US $35.00

Pub Date: 9/4/2012
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Art of the Twentieth Century, Volume V

ART OF THE TWENTIETH CENTURY, VOLUME V

Edited by Valerio Terraroli.

SKIRA

ISBN: 9788857201283 | US $60.00

Pub Date: 10/19/2010
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Art of the Twentieth Century, Volume III

ART OF THE TWENTIETH CENTURY, VOLUME III

By Valerio Terraroli, Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen, Ida Gianelli.

SKIRA

ISBN: 9788861301948 | US $60.00

Pub Date: 11/11/2008
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Summer Autumn Winter... and Spring

SUMMER AUTUMN WINTER... AND SPRING

By Till Ferath, Sam Bardaouil.

SKIRA

ISBN: 9788857214849 | US $35.00

Pub Date: 4/21/2015
Active | In stock


From Picasso to Koons

FROM PICASSO TO KOONS

Edited by Diane Venet. Text by Barbara Rose, Adrien Goetz.

SKIRA

ISBN: 9788857211565 | US $70.00

Pub Date: 9/14/2011
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Art of the Twentieth Century, Box Set

ART OF THE TWENTIETH CENTURY, BOX SET

By Gabriella Belli, Carlo Bertelli, Germano Celant, Ester Coen, Ida Gianelli. Edited by Valerio Terraroli.

SKIRA

ISBN: 9788857222240 | US $240.00

Pub Date: 10/21/2014
Active | In stock


Good Dreams, Bad Dreams

GOOD DREAMS, BAD DREAMS

Edited by Massimiliano Gioni. Contributions by Richard Prince.

SKIRA

ISBN: 9788857232386 | US $65.00

Pub Date: 2/21/2017
Active | In stock


Food

FOOD

Edited by Adelina von Fürstenberg.

SKIRA

ISBN: 9788857224985 | US $55.00

Pub Date: 5/19/2015
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