Published by Redstone Press. Introduction by Jacqueline Francis, Stephen G. Hall. Foreword by David Adjaye. Contribution by Henry Louis Gates Jr.
How W.E.B. Du Bois combined photographs and infographics to communicate the everyday realities of Black lives and the inequities of race in America
At the 1900 Paris Exposition the pioneering sociologist and activist W.E.B. Du Bois presented an exhibit representing the progress of African Americans since the abolition of slavery. In striking graphic visualisations and photographs (taken by mostly anonymous photographers) he showed the changing status of a newly emancipated people across America and specifically in Georgia, the state with the largest Black population. This beautifully designed book reproduces the photographs alongside the revolutionary graphic works for the first time, and includes a marvelous essay by two celebrated art historians, Jacqueline Francis and Stephen G. Hall.
Du Bois' hand-drawn charts, maps and graphs represented the achievements and economic conditions of African Americans in radically inventive forms, long before such data visualization was commonly used in social research. Their clarity and simplicity seems to anticipate the abstract art of the Russian constructivists and other modernist painters to come. The photographs were drawn from African American communities across the United States. Both the photographers and subjects are mostly anonymous. They show people engaged in various occupations or posing formally for group and studio portraits. Elegant and dignified, they refute the degrading stereotypes of Black people then prevalent in white America. Du Bois' exhibit at the Paris Exposition continues to resonate as a powerful affirmation of the equal rights of Black Americans to lives of freedom and fulfilment. Black Lives 1900 captures this singular work.
American sociologist, historian, author, editor and activist W.E.B. Du Bois (1868–1963) was the most influential Black civil rights activist of the first half of the 20th century. He was a protagonist in the founding of the National Association for the Advancement of Colored People (NAACP) in 1909, and his 1903 bookThe Souls of Black Folk remains a classic and a landmark of African American literature.
PUBLISHER Redstone Press
BOOK FORMAT Flexi, 9.75 x 12.5 in. / 144 pgs / 50 color / 54 bw.
PUBLISHING STATUS Pub Date 10/29/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2020 p. 27
PRODUCT DETAILS ISBN 9781942884538TRADE List Price: $35.00 CDN $39.95 GBP £30.00
AVAILABILITY In stock
in stock $35.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by The Museum of Modern Art, New York. Edited with text by Sarah Suzuki. Text by David Adjaye, Chika Okeke-Agulu, et al.
Within the pages of this book is one of the great international cities whose sole difference from the others is its complete lack of people, or as Peter Schjeldahl describes it: "imaginary buildings and whole cities in a perfectly integral melange of modern, postmodern and entirley invented styles." Discover more than three decades of sculpture from this Congolese artist whose creations, built from the scraps and pieces of everyday life, amount to a city that is instantly familiar in its billboards and institutions yet out of reach in its utopian vision and fantastic design. The Wall Street Journal's Peter Plagens writes, "'sparkling,' 'colorful,' 'intricate' and 'inventive' are so inadequate in describing his work that one is tempted to drag out that overused compliment in contemporary arts commentary: 'amazing.'''
Published by The Museum of Modern Art, New York. Text by Esther Adler.
The Chicago-born artist Charles White (1918–79) was celebrated during his lifetime for depictions of African-American men, women and children that acquired the name “images of dignity. White’s draftsmanship, his direct address of the social and political concerns of his time, and his commitment to media that gave his art wide circulation established him as a major artist, and one with significant influence both on his contemporaries and on later generations.
Beginning with White’s early days as an artist in the Chicago of the 1930s and ’40s, moving through his time spent developing his craft in New York in the late 1940s and ’50s, and closing with his final decades as a revered figure in Los Angeles, Charles White: Black Pope explores the artist’s practice and strategies through consideration of key works. It devotes particularly close examination to his late masterwork Black Pope (Sandwich Board Man)," in the collection of The Museum of Modern Art. By creating visually compelling, ideologically complex works that engage audiences on many levels, White established himself as a key figure of his time, one whose work continues to resonate today."
Esther Adler is Assistant Curator in the Department of Drawings and Prints at The Museum of Modern Art, New York.
Art by African Americans in the Museum of Fine Arts, Boston
Published by MFA Publications. Edited with text by Lowery Stokes Sims. Text by Dennis Carr, Janet L. Comey, Elliot Bostwick Davis, Aiden Faust, Nonie Gadsden, Edmund Barry Gaither, Karen Haas, Erica E. Hirshler, Kelly Hays L'Ecuyer, Taylor L. Poulin, Karen Quinn.
The story of African Americans in the visual arts has closely paralleled their social, political and economic aspirations over the last 400 years. From enslaved craftspersons to contemporary painters, printmakers and sculptors, African American artists have created a wealth of artistic expression that addresses common experiences, such as exclusion from dominant cultural institutions, and confronts questions of identity and community. This generously illustrated volume gathers more than 100 works of art in a variety of media by leading figures from the nineteenth century to the present—among them, Henry Ossawa Tanner, Jacob Lawrence, Romare Bearden, Lois Mailou Jones, Gordon Parks, Wifredo Lam, Kara Walker, Glenn Ligon and Kerry James Marshall—alongside many others who deserve to be better known, including artists from the African diaspora in South America and the Caribbean. Arranged thematically and featuring authoritative texts that provide historical and interpretive context, Common Wealth invites readers to share in a rich outpouring of art that meets shared challenges with individual creative responses.
Published by Hauser & Wirth Publishers. Text by Adrienne Edwards, Philip Hoare.
Accidental Records includes new paintings and drawings by Ellen Gallagher (born 1965) that continue her exploration of the complex histories of the Black Atlantic and the afterlives of the Middle Passage. Widely associated with a resurgence in this diasporic critical space, Gallagher has developed her own genre of history painting which makes us question our geographies. The slowly layered surfaces of her work become a kind of reckoning, the way sailors mark their locations at sea, determined to return. Alongside views of Gallagher’s artworks and portraits of the artist working in her studio, texts are included by Adrienne Edwards, curator at Performa and the Walker Art Center, and Philip Hoare, a writer whose books include Leviathan or, The Whale and The Sea Inside. The book accompanies Gallagher’s solo show at Hauser & Wirth Los Angeles.
Published by Walther König, Köln. Edited by Melissa Blanchflower, Natalia Grabowska, Melissa Larner. Text by Michelle Wallace. Interview by Hans Ulrich Obrist.
An affordable introduction to the quilts, paintings and posters of Faith Ringgold, a preeminent chronicler of Black life in America
Famed for her narrative quilts and her brightly colored paintings of African American life, New York artist Faith Ringgold (born 1930) has consistently challenged perceptions of identity and gender inequality through the lenses of the feminist and the civil rights movements.
As cultural assumptions and prejudices persist, her work retains its contemporary resonance both for observers and for fellow artists inspired by her narrative mastery and her ability to give mythical power to scenes of everyday life.
Focusing on different series that she has created over the past 50 years, this monograph portrays the breadth of her work, including paintings, story quilts and political posters made during the Black Power movement. The book also includes an interview with the artist conducted by Hans Ulrich Obrist, as well as an essay written by the artist’s daughter, Michelle Wallace.
Published by Gregory R. Miller & Co.. Text by Katy Siegel, Kelly Baum, Jack Whitten, Richard Shiff, Kwame Anthony Appiah, Kellie Jones. Interview with Courtney Martin.
What a book! This art-historical must-have was published to accompany the revelatory 2018 traveling exhibition of Jack Whitten's previously un-shown and unpublished sculptural work at the Baltimore Museum of Art and the Metropolitan Museum of Art. It was reviewed everywhere from The New York Times, The New Yorker and The New York Review of Books to Bookforum, where Albert Mobilio writes, "Whitten repurposed traditional forms with the same ease that marked his movement between modes of visual representation."
Published by The Museum of Modern Art, New York. Edited by Leah Dickerman, Elsa Smithgall. Text by Elizabeth Alexander, Rita Dove, Nikky Finney, Terrance Hayes, Tyehimba Jess, Yusef Komunyakaa, Patricia Spears Jones, Natasha Trethewey, Lyrae Van Clief-Stefanon, Crystal Williams, Kevin Young.
Lawrence's landmark series on African American migration in context
In 1941, Jacob Lawrence, then just 23 years old, made a series of 60 small tempera paintings on the Great Migration, the decades-long mass movement of black Americans from the rural South to the urban North that began in 1915–16. The child of migrant parents, Lawrence worked partly from his own experience and partly from long research in his neighborhood library. The result was an epic narrative of the collective history of his people. Moving from scenes of terror and violence to images of great intimacy, and drawing on film, photography, political cartoons and other sources in popular culture, Lawrence created an innovative format of sequential panels, each image accompanied by a descriptive caption. Within months of its completion, the series entered the collections of The Museum of Modern Art, New York, and the Phillips Memorial Gallery (today The Phillips Collection), Washington, DC, each institution acquiring 30 panels.
The Migration Series is now a landmark in the history of modern art. Jacob Lawrence: The Migration Series, now in paperback, grounds Lawrence’s work in the cultural and political debates that shaped his art and demonstrates its relevance for artists and writers today. The series is reproduced in full; short texts accompanying each panel relate them to the history of the Migration and explore Lawrence’s technique and approach. Alongside scholarly essays, the book also includes 11 newly commissioned poems, by Rita Dove, Nikky Finney, Terrance Hayes, Tyehimba Jess, Yusef Komunyakaa, Patricia Spears Jones, Natasha Trethewey, Lyrae Van Clief-Stefanon, Crystal Williams and Kevin Young, that respond directly to the series. The distinguished poet Elizabeth Alexander edited and introduces the section.
Leah Dickerman is Curator in the Department of Painting and Sculpture, The Museum of Modern Art, New York.
Elsa Smithgall is Curator at The Phillips Collection, Washington, D.C.
Jodi Roberts is Curatorial Assistant in the Department of Painting and Sculpture at The Museum of Modern Art, New York.
Elizabeth Alexander is Thomas E. Donnelley Professor of African American Studies and American Studies at Yale University. Her most recent book of poetry is Crave Radiance: New and Selected Poems 1990–2010 (Graywolf Press, 2010).
Rita Dove is Commonwealth Professor of English at the University of Virginia. She is a winner of the Pulitzer Prize for Poetry (1987) and a former United States Poet Laureate (1993–95). Her most recent book of poetry is Sonata Mulattica (W. W. Norton, 2009).
Nikky Finney is John H. Bennett, Jr. Endowed Professor of Creative Writing and Southern Letters, the University of South Carolina. She is a winner of the National Book Award for Poetry for her book Head Off & Split (Triquarterly Books/Northwestern University Press, 2011).Terrance Hayes is Professor of English at Carnegie Mellon University. He is a MacArthur Fellow (2014) and a winner of the National Book Award for Poetry for his book Lighthead (Penguin, 2010).Tyehimba Jess is Assistant Professor of English at the College of Staten Island in City University of New York. He is a winner of the National Poetry Series for his book leadbelly (Wave Books, 2005).
Yusef Komunyakaa is Global Distinguished Professor of English at New York University. He is a winner of the Pulitzer Prize for Poetry (1994). His most recent book of poetry is The Chameleon Couch (Farrar, Straus and Giroux, 2012).
Patricia Spears Jones is a poet based in New York. Her most recent book of poetry is Living in the Love Economy(Overpass Books, 2014).
Natasha Trethewey is Robert W. Woodruff Professor of English and Creative Writing, Emory University. She is a winner of the Pulitzer Prize for Poetry (2007) and a former United States Poet Laureate (2012–14). Her most recent book of poetry is Thrall (Houghton Mifflin Harcourt, 2012).
Lyrae Van Clief-Stefanon is Associate Professor in the Department of English at Cornell University. Her most recent book of poetry is Open Interval (University of Pittsburgh Press, 2009).
Crystal Williams is Associate Vice President, Chief Diversity Officer and Professor of English at Bates College. Her most recent book of poetry is Detroit as Barn (Lost Horse Press, 2014).
Kevin Young is Director of the Schomburg Center for Research in Black Culture. Previously, he was the Atticus Haygood Professor of English and Creative Writing and Curator of Literary Collections and Raymond Danowski Poetry Library at Emory University. His most recent book of poetry is Book of Hours (Knopf, 2014).
Published by Guggenheim Museum. Text by Chaédria LaBouvier, Nancy Spector, J. Faith Almiron, Greg Tate. Contributions by Luc Sante, Carlo McCormick, Jeffrey Deitch, Kenny Scharf, Fred Braithwaite, Michelle Shocked, et al.
Police brutality, racism, graffiti and the art world of the early-1980s Lower East Side converge in one painting by Jean-Michel Basquiat
Jean-Michel Basquiat painted Defacement (The Death of Michael Stewart) on the wall of Keith Haring’s studio in 1983 to commemorate the death of a young black artist who died from injuries sustained while in police custody after being arrested for allegedly tagging a New York City subway station. Defacement is the starting point for the present volume, which focuses on Basquiat’s response to anti-black racism and police brutality. Basquiat’s “Defacement”: The Untold Story explores this chapter in the artist’s career through both the lens of his identity and the Lower East Side as a nexus of activism in the early 1980s, an era marked by the rise of the art market, the AIDS crisis and ongoing racial tensions in the city.
Texts by Chaédria LaBouvier, Nancy Spector, J. Faith Almiron and Greg Tate are supplemented by commentary from artists and activists such as Luc Sante, Carlo McCormick, Jeffrey Deitch, Kenny Scharf, Fred Braithwaite and Michelle Shocked, who were part of this episode in New York City’s history, which parallels today’s urgent conversations about state-sanctioned racism. Basquiat’s painting is contextualized by ephemera related to Stewart’s death, including newspaper clippings and protest posters, samples of artwork from Stewart’s estate and work made by other artists in response to Stewart’s death and the subsequent trial, including pieces by Haring, Andy Warhol, David Hammons, George Condo and Lyle Ashton Harris.
Chaédria LaBouvier is a writer and Basquiat scholar. In fall 2016, she organized a one-work exhibition of the artist’s painting "Defacement (The Death of Michael Stewart)" (1983) for the Reading Room at Williams College Museum of Art.
Nancy Spector is Artistic Director and Jennifer and David Stockman Chief Curator of the Solomon R. Guggenheim Museum and Foundation.
J. Faith Almiron is Assistant Professor of African-American Studies at the University of Wisconsin–Madison. Her research focuses on the role of art, visual culture, and performance in relation to social transformation.
Published by Hatje Cantz. Text by Dieter Buchhart, Glenn O'Brien, Jean-Louis Prat, Susanne Reichling.
The first African-American artist to attain art superstardom, Jean-Michel Basquiat (1960-1988) created a huge oeuvre of drawings and paintings (Julian Schnabel recalls him once accidentally leaving a portfolio of about 2,000 drawings on a subway car) in the space of just eight years. Through his street roots in graffiti, Basquiat helped to establish new possibilities for figurative and expressionistic painting, breaking the white male stranglehold of Conceptual and Minimal art, and foreshadowing, among other tendencies, Germany's Junge Wilde movement. It was not only Basquiat's art but also the details of his biography that made his name legendary--his early years as "Samo" (his graffiti artist moniker), his friendships with Andy Warhol, Keith Haring and Madonna and his tragically early death from a heroin overdose. This superbly produced retrospective publication assesses Basquiat's luminous career with commentary by, among others, Glenn O'Brien, and 160 color reproductions of the work.
Jean-Michel Basquiat was born in Brooklyn, New York, to a Puerto Rican mother and a Haitian father--an ethnic mix that meant young Jean-Michel was fluent in French, Spanish and English by the age of 11. In 1977, at the age of 17, Basquiat took up graffiti, inscribing the landscape of downtown Manhattan with his signature "Samo." In 1980 he was included in the landmark group exhibition The Times Square Show; the following year, at the age of 21, Basquiat became the youngest artist ever to be invited to Documenta. By 1982, Basquiat had befriended Andy Warhol, later collaborating with him; Basquiat was much affected by Warhol's death in 1987. He died of a heroin overdose on August 22, 1988, at the age of 27.
Jean-Michel Basquiat: Xerox provides the first concentrated examination of the extraordinary body of work that the artist created using Xerox copies as his principal medium and compositional focal point. These immersive, collaged Xerox paintings epitomize Basquiat’s extraordinary instinct for visual language. Their raw, allover compositions incorporate recycled and transformed signs and markings from the artist’s everyday experiences, including motifs from his earlier artworks.
The intricate web of content in this series presages the copy-paste sampling characteristic of the subsequent internet and post-internet generations, positioning Basquiat as a pioneer of the pre-digital age.
Jean-Michel Basquiat (1960–88) grew up in Brooklyn. Notoriety came early, from his street paintings made under the tag SAMO. Later he stormed the gallery world, and became an icon of New York's vibrant early-’80s downtown scene, a friend to and collaborator with Andy Warhol and Francesco Clemente, and the cover boy for a 1985 New York Times Magazine story on the new art market. He died following a heroin overdose at 27.
Published by Institute 193/Tinwood. Introduction by Phillip March Jones.
A manifesto-guidebook to one of the American South's most astounding art environments
In the summer of 1989, Joe Minter had a vision from God to create art that would honor the shared experiences of African Americans in this country. From that moment, Minter began building a sprawling collection of sculpture and installation works on land adjacent to both his home and the Shadow Lawn Memorial Gardens, a historically black cemetery, in the Woodland Park neighborhood of Birmingham. The result is a continuously evolving art environment that recounts both immediately local and world events that have affected humanity, with a focus on the contributions and tribulations of African Americans. Thousands of visitors from all over the world have visited his yard environment, and Minter's sculptures are now in the collection of the Metropolitan Museum of Art and many other museums nationwide.
On the 30th anniversary of his vision, Institute 193 and Tinwood have reissued To You Through Me: The Beginning of a Link of a Journey of 400 Years, Minter's 2004 self-published creative manifesto and didactic field guide to the African Village in America yard show. Those who cannot visit in person can use this first-person guidebook to experience Joe Minter's yard and learn from his years of thoughtful meditations on history, place and the human condition.
PUBLISHER Institute 193/Tinwood
BOOK FORMAT Paperback, 8.5 x 11 in. / 136 pgs / 32 color.
PUBLISHING STATUS Pub Date 9/17/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2020 p. 122
PRODUCT DETAILS ISBN 9781732848221TRADE List Price: $30.00 CDN $45.00 GBP £27.00
AVAILABILITY In stock
in stock $30.00
UPS GROUND IN THE CONTINENTAL U.S. FOR CONSUMER ONLINE ORDERS
Published by The Museum of Modern Art, New York. Edited with text by Stuart Comer. Text by Naomi Beckwith, Mark H.C. Bessire, C. Carr, Valerie Cassel Oliver, Adrienne Edwards, Malik Gaines, Danielle A. Jackson, Adrian Heathfield, EJ Hill, Thomas J. Lax, André Lepecki, Yvonne Rainer, Martine Syms, Martha Wilson.
An absurdist provocateur and brilliant interventionist, Pope.L is a seditious force in contemporary American art
Pope.L is a consummate thinker and provocateur whose practice across multiple mediums—including painting, drawing, installation, sculpture, theater and video—utilizes abjection, humor, endurance, language and absurdity to confront and undermine rigid systems of belief. Published in conjunction with an exhibition at the Museum of Modern Art that will feature a combination of videos, photographs, sculptural elements, ephemera and live actions, member: Pope.L, 1978–2001 presents a detailed study of 13 early works that helped define Pope.L’s career. Essays by curators, artists, filmmakers and art historians, plus an interview and artistic interventions by the artist, establish key details for each work and articulate how the artist continues to think about the legacy of these ephemeral projects unfolding in time.
Among the works included are performances rooted in experimental theater, such as Egg Eating Contest (1990), Aunt Jenny Chronicles (1991) and Eracism (2000), as well as street interventions such as Thunderbird Immolation a.k.a. Meditation Square Piece (1978), ATM Piece (1997) and The Great White Way: 22 miles, 9 years, 1 street (2001–09), among others. Together these works highlight the role that performance has played within a seditious, emphatically interdisciplinary career that has established Pope.L as an influential force in contemporary art.
Pope.L (born 1955) is an acclaimed and prolific interdisciplinary artist best known for his provocative performances, such as ATM Piece (1997) and his decades-long Crawl series—most notably Times Square Crawl (1978), Tompkins Square Crawl (1991) and The Great White Way: 22 miles, 9 years, 1 street (2001–09)—in which the artist drags his body across New York City. Pope.L received his MFA from the Mason Gross School of Arts at Rutgers University and has exhibited internationally. He lives and works in Chicago.
Stuart Comer is Chief Curator in the Department of Media and Performance at The Museum of Modern Art, New York.
Danielle A. Jackson is Curatorial Assistant in the Department of Media and Performance at The Museum of Modern Art, New York.
Naomi Beckwith is Manilow Senior Curator at the Museum of Contemporary Art Chicago, where her exhibition and book projects focus on the impact of identity and multi-disciplinary practices for shaping contemporary art. Prior to working at the MCA Chicago, she held positions at the Institute of Contemporary Art in Philadelphia and the Studio Museum in Harlem.
Cynthia Carr is a New York-based writer. Using the byline C. Carr, she reported on experimental art for the Village Voice from 1984 to 2003. Her books include Our Town: A Heartland Lynching, A Haunted Town, and the Hidden History of White America (1991), the edited collection On Edge: Performance at the End of the Twentieth Century (2008), and Fire in the Belly: The Life and Times of David Wojnarowicz (2012).
Valerie Cassel Oliver is Sydney and Frances Lewis Family Curator of Modern and Contemporary Art at the Virginia Museum of Fine Arts. She formerly served as senior curator at the Contemporary Arts Museum Houston from 2000-2017. Her past exhibitions include Double Consciousness: Black Conceptual Art Since 1970(2005) and Radical Presence: Black Performance in Contemporary Art (2012), which toured through 2015.
Adrienne Edwards is Engell Speyer Family Curator and Curator of Performance at the Whitney Museum of American Art
Malik Gaines is Associate Professor of Performance Studies at New York University’s Tisch School of the Arts and the author of Black Performance on the Outskirts of the Left: A History of the Impossible (2017).
Adrian Heathfield is writer, curator, and professor of performance studies. His books include Out of Now (2009), a monograph on the Taiwanese-American artist Tehching Hsieh, and the edited collections Perform, Repeat, Record (2012), Live: Art and Performance (2004), Small Acts (2000), and Shattered Anatomies (1997).
EJ Hill is a contemporary artist from Los Angeles who works in durational performance, installation, painting, and collage.
Thomas J. Lax is Associate Curator in the Department of Media and Performance Art at The Museum of Modern Art, New York.
André Lepecki is Professor of Performance Studies at New York University. He works and researches at the intersection of critical dance studies, curatorial practice, performance theory, contemporary dance, and visual arts performance.
Yvonne Rainer is a dancer, choreographer, and filmmaker. One of the founders of the Judson Dance Theater, Rainer transitioned from dance to filmmaking in the 1970s and returned to dance in 2000. Recent publications include her memoir Feelings Are Facts: a Life (2006), Poems (2011), and the edited collection Moving and Being Moved (2017).
Martine Syms is an artist who uses video and performance to examine representations of blackness. Her artwork has been exhibited and screened at The Museum of Modern Art, the Hammer Museum, ICA London, New Museum, Art Institute of Chicago, and The Studio Museum in Harlem, among other institutions. She is on faculty at the School of Art at the California Institute of the Arts and runs Dominica Publishing, an imprint dedicated to exploring blackness in visual culture.
Martha Wilson is a pioneering feminist artist and art space director, who over the past four decades has created innovative photographic and video works that explore her female subjectivity. In 1976 she founded Franklin Furnace, an artist-run space that champions the exploration and preservation of artist books, temporary installations, and performance art, as well as online works.
Published by Wexner Center for the Arts. Foreword by Sherri Geldin. Text by Nicole R. Fleetwood, Michael Goodson, Beverly Guy-Sheftall, Antwaun Sargent.
Presenting paintings of some of the artist's key models and muses, I Can't See You Without Me illuminates the work of Brooklyn painter Mickalene Thomas (born 1971). Culling from art history and popular culture, Thomas creates scintillating portraits that deconstruct the highly charged connections between sitter, artist and viewer. Whether depicted as classically composed 19th-century odalisques, Afro-adorned vixens of blaxploitation films or as a powerful maternal figure yearning for social mobility, the recurring models in Thomas' compositions (almost exclusively women of color) convey a spirit of strength and self-confidence. Across this archetypal array, it is both their contradictions and kinships that make the black female body such fertile terrain for the artist's ongoing investigations. By casting herself, her late mother and other formidable women in her life as models, muses and collaborators, Thomas particularizes her distinctive oeuvre of portraiture. Focused yet expansive, the catalog both reasserts and further contextualizes issues of identity, sexuality and agency in Thomas' work that have only become more nuanced and palpable over time.
Published by Badlands Unlimited. By Aruna D'Souza.
Aruna D'Souza takes an unflinching look at art and race in America via three incendiary recent historical examples, 1969-2017, in this timely and widely reviewed reader from Paul Chan's pioneering small press, Badlands Unlimited. Called "a laser beam of a book, unwavering and on target," by The New York Times and "an essential primer in discussions about exclusion, free speech and the power of institutions in the art world and outside it," by Publishers Weekly, this volume has been reviewed, course adopted, sold and passed around just about everywhere that matters.
Published by Hatje Cantz. Edited with text by Andres Lepik, Ayça Beygo.
Collaborating with residents, Burkina Faso architect Francis Kéré places social and historical needs at the heart of his design thinking
More than almost any other contemporary architect, Burkina Faso–born Diébédo Francis Kéré (born 1965) stands for the social and cultural possibilities of architecture: the innovative aspect of his work lies in his reliance on local residents. Kéré first made a name for himself in 2008 with his designs for Christoph Schlingensief’s Opera Village Africa, and since then he has received numerous international awards (including the 2004 Aga Khan Award for Architecture), primarily for his building projects in his native Burkina Faso. In 2015, Kéré designed a Legacy Campus in Kenya for the Mama Sarah Obama Foundation (MSOF), the foundation of the sole living grandparent of president Barack Obama, whose mission is to feed and educate children and impoverished families.
Kéré's structures combine the influence of his formal training at the Technische Universität Berlin with the traditional building methods of Burkina Faso. In working with the local populace, he places local social and historical needs at the center of his design concepts; residents are trained to become professionals and thus the constructors of their own future.
This first monograph on his extensive oeuvre provides unique insight into the creative work of this outstanding architect and renders visible the fact that architecture not only revolves around buildings, but always around people as well.
Published by Vitra Design Museum. Edited by Mateo Kries, Amelie Klein.
Over the past decade, Africa has experienced a tremendous political, economic and technological transformation. Spearheading this shift is a new generation of entrepreneurs and doers who have opened up a fresh view of this vast and diverse continent, using the Internet to make themselves visible. Developed in collaboration with renowned curator Okwui Enwezor, Making Africa: A Continent of Contemporary Design embraces this new perspective, seeking to reveal the continent as a thinktank and investigating the intriguing possibility of a new understanding of design. It focuses on a generation of African designers, architects and artists who transcend the boundaries between design, art, photography, architecture and urbanism. Utilizing traditional techniques as comfortably as new media such as Facebook and mobile banking systems, these designers are establishing a new design identity—and thus a new future—for the continent. Making Africa examines everyday life through such items as furniture, posters, fashion garments and accessories, including J.D. Okhai Ojejkere's "Nigerian hairstyles" and Cyrus Kabiru's eyewear sculptures as well as the objects of Cheick Diallo, fashion by Buki Akib, the photographs of Mário Macilau and Okhai Ojeikere, the architecture of Francis Kéré, the animation art of Robin Rhode and many other creations of designers from different disciplines. Grounding these new movements in a larger historical context, Making Africa also takes a look at the first generation of postcolonial Africa.
Published by Soul Jazz Books. Edited by Stuart Baker. Foreword by Paul Gilroy.
The image of the Caribbean is as much a creation of the West as it is the result of its population's incredibly complex identity. A melting pot of races born of the 400-year slave trade--Africans, indigenous Americans and their French, Spanish, German, Dutch and English colonizers--the identity of the Caribbean stands at the intersection of tourism, colonialism and tropicality. This deluxe large-format volume features hundreds of fascinating and unique photographs that span 100 years of Caribbean history, culture, industry and more, as well as the subsequent diaspora of its people to America, England and elsewhere. The photographs show the many ways in which the region has been portrayed, from tropical backdrop of tourism and hedonism to colonial outpost and revolutionary threat in North America's own backyard. The introduction is by Paul Gilroy, author of The Black Atlantic, There Ain't No Black in the Union Jack and Black Britain:A Photographic History (2004), among others.
Images of a Revolution: Radical Jazz in the USA 1960-75
Published by Soul Jazz Books. Edited by Stuart Baker.
At the start of the 1960s, jazz entered a unique period of revolution as African-American musicians redefined the art form in the context of the Civil Rights Movement, Afro-centric rhythm and thought and an ideology of black economic empowerment. John Coltrane, Ornette Coleman, Sun Ra, Pharoah Sanders, Albert Ayler and others developed a new cosmology of sound that was as revolutionary as the social and political changes that took place in America throughout the decade. From the musical explorations of John Coltrane, Cecil Taylor and Ornette Coleman to the collective and community concerns of Chciago’s Association for the Advancement of Creative Musicians and the black science fiction of Sun Ra, the new jazz musicians created a musical and cultural landscape from which jazz never looked back. This large-format deluxe hardback book features hundreds of stunning photographs of the new jazz musicians in the USA throughout the 1960s, presented with an introductory essay and biographies on the many artists included in the book.
Published by Inventory Press. By Jordan Peele. Text by Tananarive Due.
Jordan Peele’s celebrated screenplay combines horror and dark humor to reveal the terrifying realities of being Black in America
"Blending race-savvy satire with horror to especially potent effect, this bombshell social critique from first-time director Jordan Peele proves positively fearless." –Peter Debruge,
"An exhilaratingly smart and scary freak out about a black man in a white nightmare."
–Manohla Dargis, New York Times
"A major achievement, a work that deserves, in its own way, to be viewed alongside Barry Jenkins' Moonlight as a giant leap forward for the possibilities of black cinema; Get Out feels like it would have been impossible five minutes ago." –Brandon Harris, New Yorker
Jordan Peele’s powerful thriller Get Out debuted in 2017 to enormous public and critical acclaim, a Guess Who’s Coming to Dinner? for the age of Obama and Trump that scared audiences and skewered white liberal pieties at the same time. Rather than rely on popular archetypes, Peele weaves together the material realities and daily manifestations of horror with sociopolitical fears and elements of true suspense, and combines them with pitch-perfect satire and a timely cultural critique. This companion paperback to the film presents Peele’s Oscar-winning screenplay alongside supplementary material.
Featuring an essay by author and scholar Tananarive Due and in-depth annotations by the director, this publication is richly illustrated with more than 150 stills from the motion picture and presents alternate endings, deleted scenes and an inside look at the concepts and behind-the-scenes production of the film. Continuing in the legacy of 1960s paperbacks that documented the era’s most significant avant-garde films—such as Akira Kurosawa’s Rashomon, Jean-Luc Godard’s Masculin/Feminin and Michelangelo Antonioni’s L’Avventura—Get Out is an indispensable guide to this pioneering and groundbreaking cinematic work.
Jordan Peele (born 1979) is an American writer, director and producer. Peele’s directorial debut, Get Out (2017), earned him an Academy Award for Best Original Screenplay as well as nominations for Best Picture and Best Director. In 2012, Peele founded Monkeypaw Productions, which amplifies traditionally underrepresented voices and unpacks contemporary social issues, while cultivating artistic, thought-provoking projects across film, television and digital platforms, including Peele’s follow-up to Get Out, the critically acclaimed horror epic, Us (2019).
Published by National Portrait Gallery. Edited with text by Nicholas Cullinan. Text by Margo Jefferson, Zadie Smith.
Published to accompany the blockbuster traveling exhibition at the National Portrait Gallery, London (en route to stops in France, Germany and Finland through 2019), this volume is so much fun. Presenting artworks on or about the one and only King of Pop—by the likes of Isa Genzken, KAWS, David LaChapelle, Glenn Ligon and Andy Warhol, among others—this volume is ambitious and thought-provoking. Reviewed in Artforum, Artnet, AnOther Man, CNN, Gayletter, and The New York Times, where Thomas Chatterton Williams writes, "Jackson’s own face—through a combination of fame and relentless surgery—became a mask, reflecting our own biases and ideals while concealing a deeper truth. His art and lasting appeal, on the other hand, function as a reminder to consider our own disguises, and what we might gain by letting them go."
Published by Reel Art Press. Edited by John Duke Kisch, Tony Nourmand. Foreword by Henry Louis Gates, Jr. Text by John Duke Kisch, Peter Doggett. Afterword by Spike Lee.
This magnificent volume is a celebration of the first 100 years of black film poster art. A visual feast, these images recount the diverse and historic journey of the black film industry from the earliest days of Hollywood to the present day, accompanied by insightful accompanying text, a foreword by black history authority and renowned academic Henry Louis Gates, Jr. and an afterword by Hollywood director Spike Lee. These posters have meaning for young and old alike, and possess the power to transcend ethnicity. They capture the spirit and energy of an earlier time, reminding people of the pioneers of the past, those courageous and daring African American filmmakers, entertainers and artists whose dreams and struggles paved the way for future generations. The wealth of imagery on these pages is taken from the Separate Cinema Archive, maintained by archive director John Kisch. The most extensive private holdings of African-American film memorabilia in the world, it contains over 35,000 authentic movie posters and photographs from over 30 countries. This stunning coffee table book represents some of the archive's greatest highlights.
Published by D.A.P./Tate. 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.
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.
Published by Steidl/The Gordon Parks Foundation. Edited by Peter W. Kunhardt, Jr., Paul Roth. Text by Henry Louis Gates, Jr., Deborah Willis, Maurice Berger, Barbara Baker Burrows, Paul Roth, Gordon Parks.
A self-taught polymath, Parks chronicled the African-American experience and retold his own personal history
This five-volume collection surveys five decades of Gordon Parks’ (1912–2006) photography. It is the most extensive publication to document his legendary career. Widely recognized as the most important and influential African-American photographer of the 20th century, Parks combined a unique documentary and artistic style with a profound commitment to social justice.
Working first for the Farm Security Administration and later for Life magazine, he specialized in extended-narrative picture stories on difficult subject matter. Covering crime, poverty, segregation, the politics of race and class, and controversial personalities, Parks became legendary for his ability to meld penetrating insight with a lyrical aesthetic. He was thus able to introduce a broad and diverse public to people, issues and ideas they might otherwise have ignored. Parks was remarkably versatile, traveling the world to photograph news events and fashion, as well as the worlds of art, literature, music, theater and film. Later in life, he reconceived his vision in fundamentally personal and poetic terms, producing color photographs that were allusive rather than descriptive, symbolic rather than literal.
Published by Steidl/The Gordon Parks Foundation/The Nelson-Atkins Museum of Art. Edited by Peter W. Kunhardt, Jr., Paul Roth, April Watson. Foreword by Peter W. Kunhardt Jr., Julián Zugazagoitia. Introduction by Kareem Abdul-Jabbar. Text by Gerald Early, April Watson.
With fantastic previously unseen images, this book represents a collaboration between two heroes of Black American culture
In 1966 Life magazine assigned famed photographer Gordon Parks to cover Muhammad Ali, the brash young boxing champion. Four years later in 1970, the two came together again for a second feature story in “The Great American Magazine.” These encounters framed a critical passage in the career of the controversial heavyweight, whose antiwar and black separatist views had led to widespread vilification in the United States. They also marked a significant moment of transition for Parks, then following up his remarkable success in photojournalism with new projects as an author, filmmaker and composer.
Collaborating on these two stories, Parks and Ali transcended their routine roles as journalist and athlete to make sense of an epoch and the American struggle against racial inequality, in which both were key players. Parks’ intimate perspective on Ali during this crucial period is indispensable to understanding the boxer called “the greatest of all time.” This book includes an expansive selection of photographs from Parks’ original reportage, many never before published, as well as reproductions of his original stories as they appeared in Life magazine.
Gordon Parks was born into poverty and segregation in Fort Scott, Kansas, in 1912. An itinerant laborer, he worked as a brothel pianist and railcar porter, among other jobs, before buying a camera at a pawnshop, training himself, and becoming a photographer. In addition to his storied tenures photographing for the Farm Security Administration (1941–45) and Life magazine (1948–72), Parks evolved into a modern-day Renaissance man, finding success as a film director, writer and composer. The first African American director to helm a major motion picture, he helped launch the blaxploitation genre with his film Shaft (1971). He wrote numerous memoirs, novels and books of poetry, and received many awards and more than 50 honorary degrees. Parks died in 2006.
Published by Steidl/The Gordon Parks Foundation. Edited with text by Paul Roth, Amanda Maddox. Foreword by Peter W. Kunhardt, Jr., Flávio Pinheiro, Timothy Potts. Text by Sérgio Burgi, Beatriz Jaguaribe, Maria Alice Rezende de Carvalho, Natalie Spagnol.
Steidl recontextualizes Gordon Parks' groundbreaking 1961 Life magazine photo essay profiling a favela family living outside a wealthy enclave of Rio de Janeiro. Parks' feature—focused on Flavio, an industrious 12-year-old suffering from crippling asthma—served as an unexpected call to action, prompting Life readers to donate nearly $30,000. Parks "portrayed the da Silva family with dignity, he did not sidestep the brutal details of their lives: their ragged and filthy clothes; the rickety shed in which they lived; the despair and anger of children struggling to survive; and the desolate landscape strewn with garbage and raw sewage, and teeming with insects," Maurice Berger writes in The New York Times. Though the photographs were shot in 1961, The Flavio Story remains a call to action to this day. The book's brilliant design not only reproduces the original feature, but intertwines the Brazilian response to the photo essay and an interview of Flavio as an adult. A political dossier masquerading as a photo book.
In 1948, Gordon Parks began his professional relationship with Life magazine that would last 22 years. For his first project, he proposed a series of pictures about the gang wars that were then plaguing Harlem, believing that if he could draw attention to the problem then perhaps it would be addressed through social programs or government intervention. As a result of his efforts, Parks gained the trust of one particular group of gang members and their leader, Leonard Red Jackson, and produced a series of pictures of them that are artful, emotive, poignant, touching and sometimes shocking. From this larger body of work, 21 pictures were selected for reproduction in a graphic and adventurous layout in Life magazine. At each step of the selection process--as Parks chose each shot, or as the picture editors at Life re-selected from his selection--any intended narrative was complicated by another curatorial voice. Featuring contact sheets, proof prints and the published Life article, Gordon Parks: The Making of an Argument traces this editorial process and parses out the various voices and motives behind the production of the picture essay. Co-published by The Gordon Parks Foundation and the New Orleans Museum of Art.
Published by Steidl/The Gordon Parks Foundation/The Art Institute of Chicago. Foreword by Peter W. Kunhardt Jr., Douglas Druick. Introduction by Matthew S. Witkovsky, John F. Callahan. Text by Michal Raz-Russo, Jean-Christophe Cloutier.
Photographer Gordon Parks and author Ralph Ellison collaborated on two historic photo-essays-- "Harlem Is Nowhere" and "A Man Becomes Invisible"-- both published in full for the first time here
Published by Damiani. Introduction by Marla Hamburg Kennedy. Interview by Cheryl Dunn.
During the summer of 1980, under the direction of his photographer father, Jamel Shabazz armed himself with a Canon AE1 SLR camera and began to photograph the landscape of his native New York City. Photographing in the streets put Shabazz right in the heart of all of the action; he carried his camera everywhere he went, from Harlem to Times Square, the Lower East Side to downtown Brooklyn, always set and at the ready. Like a fisherman seeking a fruitful catch, Shabazz ventured into locations full of life and uncertainty in hopes of capturing a unique moment. Consisting of 120 color and black-and-white photographs taken between 1985 and the 2000s, most of which have never been published, Sights in the City is the testament of Shabazz’s visual journey.
New York–based Jamel Shabazz (born 1960) is a documentary, fashion and street photographer. Since first picking up the camera nearly 40 years ago he has authored seven monographs (including the popular volume Back in the Days) and exhibited worldwide; his work is in the permanent collections of the Whitney Museum, The Smithsonian and the Bronx Museum of the Arts.
Published by Damiani. Edited by Steven Kasher. Text by Jill Freedman, John Edwin Mason, Aaron Bryant.
This 50th-anniversary edition of Jill Freedman’s 1970 photo book documenting the climax of Dr. Martin Luther King's 1968 Poor People's Campaign—set in Resurrection City, a six-week, 3,000-person protest encampment on the Washington Mall—is "a masterpiece," according to Kirkus. "Her black-and-white prints are honest and stirring portraits of the ordinary people at the heart of this historic uprising," Rebecca Bengal writes in Vulture. "The reissue is timely. Inequity is starker than ever." —Holland Cotter, The New York Times.
Published by Eakins Press Foundation. Text by Martin Luther King, Jr., A. Philip Randolph, Roy Wilkins.
On May 17, 1957, through the generosity of Bayard Rustin, Lee Friedlander was given full access to photograph the participants of the Prayer Pilgrimage for Freedom in Washington, D.C. This extraordinary event, organized by Mr. Rustin, as well as A. Philip Randolph, Roy Wilkins and Dr. Martin Luther King, Jr., brought together many of the great thinkers and leaders of the period, and was a pivotal moment in the Civil Rights Movement. Friedlander's photographs depict the famous individuals at the event—Mahalia Jackson, Ruby Dee and Harry Belafonte, among many other luminaries of the African-American community—but they also pay particular attention to the 25,000 men, women and children who gathered to give voice and energy to the ideas embattled by the movement. The 58 previously unpublished photographs gathered here are among Friedlander's earliest work. Also included in this publication is the typescript of Martin Luther King, Jr.'s "Give Us the Ballot" speech and additional ephemera from the march produced in facsimile.
Published by The Frist Center for the Visual Arts. Edited by Kathryn E. Delmez. Text by Susan H. Edwards, Makeda Djata Best, Deborah Willis.
Louisiana Medley celebrates the 30-year collaboration of photographers Keith Calhoun (born 1955) and Chandra McCormick (born 1957). Partners in life and work, the two have worked together to document African American life in and around their native New Orleans. Calhoun and McCormick’s photographs show the artists in tune with each other as well as the rich complexity of Louisiana identity, from the local street culture and parades of their city to life in the Louisiana State Penitentiary, locally known as “Angola.” Their intimate understanding of labor practices and prison culture has informed their activism, around Angola and outside its walls. The photographers’ activism—and their appreciation for their city’s stubborn, fragile beauty—has only grown since Hurricane Katrina. Louisiana Medley surveys Calhoun and McCormick’s work over the course of three decades, revealing how the two photographers have used their cameras as tools for social engagement.
Published by Fondation Cartier Pour L'Art Contemporain / Editions Xavier Barral. Text by André Magnin, Brigitte Ollier, Manthia Diawara, Robert Storr.
"If you had to describe Malick Sidibé’s photography in a single word, it might be joyous," Hayley Maitland writes in Vogue. And it's true: Xavier Barral's infectiously jubilant and show-stoppingly gorgeous Sidibé retrospective, Mali Twist, "pays tribute to a man who produced electrifyingly modern images of night life in the country’s capital, Bamako, in the 1960s and 70s." —Andrew Dickson, New York Times. "It’s hard not to look with envy at the party photographs of this great Malian photographer, where the dancing goes on until dawn and everyone is dressed to kill," Jason Farago writes in another New York Times review. "The fabulous cover image is just the beginning." —Victoria L. Valentine, Culture Type.
PUBLISHER Fondation Cartier Pour L'Art Contemporain / Editions Xavier Barral
BOOK FORMAT Clth, 7.75 x 10.25 in. / 296 pgs / 276 bw.
PUBLISHING STATUS Pub Date 11/28/2017 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2018 p. 32
PRODUCT DETAILS ISBN 9782365111522TRADE List Price: $80.00 CDN $107.50
AVAILABILITY In stock
in stock $80.00
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Published by MFA Publications. Text by Christraud M. Geary.
The complex history of imaging Africa, as seen in its postcard industry
During the global postcard craze that peaked around 1900 and continued for several decades thereafter, photographers in Africa grasped the opportunity to serve a lucrative market for images of the continent, both locally and worldwide. Their picture postcards now contribute to understanding political and cultural changes in Africa at the time, as the rise of the new medium coincided with the expansion and consolidation of colonial rule. They also provide a way to reconstruct the life and work of the photographers of European, African and other backgrounds who created these images—which often survive only in postcard form—and in some cases published them as well.
The cards were produced for residents and travelers in Africa, as well as for buyers and collectors who had never set foot on the continent. Their depictions of colonial administrations and the exploitation of resources and peoples, as well as images inscribing tribal identities and racial classifications, often reflect the colonizers' worldview. Yet it is also possible to recover the authorship of some of the African women and men who participated in these photographic encounters. For instance, some cards show that members of Africa's elites recognized the power of photographic images to enhance their standing and present their own narratives.
Postcards from Africa reproduces a generous selection of these complex cards—the majority drawn from the extensive Leonard A. Lauder Postcard Archive at the Museum of Fine Arts, Boston—accompanied by a leading scholar's exploration of the complicated stories they tell.
Published by Steidl/The Art Institute of Chicago. Edited with text by Matthew S. Witkovsky. Text by Antawan Byrd, Florent Mazzoleni.
“Rich people, poor people, religious people, artists, musicians, everyone could become a hero at [Sanle’s] Volta studio.” —Florent Mazzoleni, The New York Times
The studio photographs of Sory Sanlé and his participation in the vibrant music scene in Bobo-Dioulasso give us a picture of a cosmopolitan city shaping its independent identity in the 1960s through to the ’80s, the heyday of West African independence movements. Vintage photographs, seven-inch record sleeves and studio accessories are all reproduced in the most extensive portrayal to date of photography and music as key popular art forms with local, national and international resonance. With the colorful full title of Volta Photo: Starring Sory Sanlé and the Good People of Bobo-Dioulasso in the Small but Musically Mighty African Country of Burkina Faso, this book also includes essays on photography and sound in Africa as well as a CD with hit songs by Volta Jazz, Echo del Africa Nacional and other star bands.
Born in Burkina Faso in 1943, Sory Sanlé runs a portrait studio in Bobo-Dioulasso. He opened his business in 1960, the year that Upper Volta (now Burkina Faso) declared independence from France. For many years, Sanlé also organized music parties around the city; he served as the official photographer for Volta Jazz, a key popular music orchestra in the 1960s and ’70s.
Published by Reel Art Press/Morton Hill. Introduction by Forent Mazzoleni.
Burkina Faso photographer Sory Sanlé (born 1943) started his career in 1960, the year his country (then named République de Haute-Volta) gained independence from France.
Sanlé opened his Volta Photo portrait studio in 1965 and, working with his Rolleiflex twin-lens, medium-format camera, Volta Photo was soon recognized as the finest studio in the city. Voltaic photography’s unsung golden age is fully embodied by Sory Sanlé: his black-and-white images magnify this era and display a unique cultural energy and social impact.
This is the first monograph on Sanlé’s work, which examines the natural fusion between tradition and modernity. Sanlé documented the fast evolution of Bobo-Dioulasso, then Burkina Faso’s cultural and economic capital, portraying the city’s inhabitants with wit, energy and passion. His work conveys a youthful exuberance in the wake of the first decades of African independence. In many ways, Sanlé’s subjects also illustrate the remoteness and melancholy of African cities landlocked deep in the heart of the continent.
“Mr. Sanlé’s work documenting the cultural scene is reminiscent of that by Malick Sidibé and Seydou Keita ... and now it is his turn to be lionized.” –The New York Times
Published by Hatje Cantz. Edited by Nadine Barth. Text by Gucci Mane.
Trap culture: the hip-hop of the American South, documented in scenes of everyday Atlanta by Vincent Desailly
Known for its ominous sound and gritty lyrics, “Trap” is the American South’s brand of hip-hop, particularly associated with the city of Atlanta. “Trap” is also slang for the place where drug deals are made—as well as, of course, a snare. These multiple meanings collide in the latest photographic project from the French documentary, portrait and fashion photographer Vincent Desailly (born 1989), who sets out to capture the world behind the lyrics in Atlanta.
Desailly’s pictures document the life and the atmosphere surrounding this music. His haunting portraits show dealers, musicians or simply residents of the city, as well as guns, crime scenes and tableaux of everyday life. The photographs possess an enchanting beauty and an elegance in their narration.
Published by Rubell Museum. Edited by Juan Valadez. Preface by Rubell Family. Text by Franklin Sirmans, Glenn Ligon, Michele Wallace, Robert Hobbs.
Nationally celebrated as one of the most important exhibitions of contemporary art in the United States within the last decade, 30 Americans showcases an influential group of prominent African American artists who have emerged as leading contributors to the contemporary art scene in the US and beyond. The exhibition and accompanying catalog explores the evolving roles of black subjects in art since the 1970s and highlights some of the most pressing social and political issues facing our country today, including ongoing narratives of racial inequality; the construction of racial, gender and sexual identity; and the pernicious underpinnings and effects of stereotyping.
Many of the artists in this exhibition interrogate how African Americans are represented, politicized and contested in the arts, media and popular culture. Several are driven by the exclusion of black subjects in art throughout much of history and celebrate and glorify black subjects through pictorial traditions including genre painting and portraiture.
In addition to essays by Robert Hobbs, Glenn Ligon, Franklin Sirmans and Michele Wallace, this expanded fourth edition contains new artworks and 22 commissioned writings by artists in the exhibition about artworks in the catalog, including pieces by Nina Chanel Abney, John Bankston, Mark Bradford, Nick Cave, Robert Colescott, Noah Davis, Leonardo Drew, Renée Green,Barkley L. Hendricks, Rashid Johnson, Kerry James Marshall, Rodney McMillian, Wangechi Mutu, William Pope.L, Rozeal Shinique Smith, Jeff Sonhouse, Henry Taylor, Hank Willis Thomas, Mickalene Thomas, Kara Walker and Kehinde Wiley.
PUBLISHER Rubell Museum
BOOK FORMAT Hardcover, 8.75 x 11.25 in. / 224 pgs / 269 color.
PUBLISHING STATUS Pub Date 5/21/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2019 p. 140
PRODUCT DETAILS ISBN 9780971634121TRADE List Price: $45.00 CDN $62.00 GBP £40.00
AVAILABILITY In stock
in stock $45.00
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Published by The Museum of Modern Art. Edited with text by Darby English, Charlotte Barat. Text by Mabel O. Wilson, et al.
This expansive collection of essays on nearly 200 works in the collection of the Museum of Modern Art is the first substantial exploration of MoMA’s uneven historical relationship with black artists, black audiences and the broader subject of racial blackness. By addressing these subjects through the consideration of works produced either by black artists or in response to race-related subjects, Among Others confronts two kinds of truth: one plainly factual and informative, the other moral. It is equal parts historical investigation and truth-telling about the Museum’s role in the history of the cultural politics of race.
The richly illustrated volume begins with two historical essays. The first, by Darby English and Charlotte Barat, traces the history of MoMA’s encounters with racial blackness since its founding—from an early commitment to African art and solo exhibitions devoted to the work of artists such as William Edmondson and Jacob Lawrence in the 1930s and 1940s to its activities during the Civil Rights Movement to the controversial Primitivism show of 1984 and beyond. The second essay, by Mabel O. Wilson, scrutinizes the Museum’s record in collecting the work of black architects and designers. Following these essays are nearly 200 plates, each accompanied by an essay by one of the over 100 authors who hail from a range of fields.
Darby English (born 1974) is Adjunct Curator in the Department of Painting and Sculpture at the Museum of Modern Art, New York, and the Carl Darling Buck Professor at the University of Chicago, where he teaches modern and contemporary art and cultural studies. He is the author of How to See a Work of Art in Total Darkness (2010), 1971: A Year in the Life of Color (2016) and To Describe a Life (2019).
Contributing authors include: Esther Adler, Margaret Aldredge-Diamond, Sean Anderson, Carol Armstrong, Julie Ault, Quentin Bajac, Charlotte Barat, Dawoud Bey, Giampaolo Bianconi, Klaus Biesenbach, Gregg Bordowitz, Jessica Bell Brown, Linda Goode Bryant, Julia Bryan-Wilson, Kaira M. Cabañas, Andrianna Campbell, Dessane Lopez Cassell, Sophie Cavoulacos, Mary Weaver Chapin, Christophe Cherix, Lisa Collins, Stuart Comer, Roberto Conduru, Lynne Cooke, John Corbett, Kate Cowcher, Douglas Crimp, Thomas Crow, Emily Cushman, Edwidge Danticat, J. Michael Dash, Samuel R. Delany, Leah Dickerman, Liz Donato, Elvira Dyangani Ose, Adrienne Edwards, Peter Eleey, Anthony Elms, Darby English, Starr Figura, Jacqueline Francis, Samantha Friedman, Diana Fuss, Samba Gadjigo, Ellen Gallagher, Lucy Gallun, Kristen Gaylord, Hanna Girma, Robert Gober, Karen Grimson, Rachel Haidu, Irena Haiduk, Claudrena N. Harold, Phillip Brian Harper, Jenny Harris, Jodi Hauptman, Cannon Hersey, Heidi Hirschl Orley, Harmony Holiday, Laura Hoptman, Amanda Hunt, Matthew Jesse Jackson, Ashley James, Ana Janevski, Martha Joseph, Bouchra Khalili, Byron Kim, Michelle Kuo, Abigail Lapin Dardashti, Thomas J. Lax, Glenn Ligon, Ron Magliozzi, Cara Manes, Roxana Marcoci, Kerry James Marshall, Courtney J. Martin, Nomaduma Rosa Masilela, Mia Matthias, Sarah Hermanson Meister, Kobena Mercer, Carmen Merport Quiñones, Richard Meyer, Jocelyn Miller, Anne Monahan, Anne Morra, Fred Moten, Sasha Nicholas, Tavia Nyong'o, Ugochukwu-Smooth C. Nzewi, Oluremi C. Onabanjo, Erica Papernik-Shimizu, Kirsi Peltomäki, Luis Pérez-Oramas, Paulina Pobocha, Antonia Pocock, Ross Posnock, Richard J. Powell, Martin Puryear, Christian Rattemeyer, Yasmil Raymond, Hillary Reder, Jodi Roberts, Ed Ruscha, Jenny Schlenzka, Abbe Schriber, Christina Sharpe, Kelly Sidley, Lowery Stokes Sims, Robert Slifkin, Jenni Sorkin, Katerina Stathopoulou, Jacqueline Najuma Stewart, Greg Tate, Lanka Tattersall, Phil Taylor, Hervé Télémaque, Ann Temkin, Akili Tommasino, Ana Torok, Luc Tuymans, Anne Umland, Sarah Van Beurden, Niko Vicario, Susan Vogel, Anne M. Wagner, Kara Walker, Kenneth W. Warren, Deborah Willis, Sharon Willis, Leslie Wilson, Mabel O. Wilson, Edith Wolfe, Sebastian Zeidler."
Darby English is Consulting Curator in the Department of Painting and Sculpture at The Museum of Modern Art, New York.
Mabel O. Wilson is Associate Professor of Architecture at Columbia's Graduate School of Architecture Planning and Preservation where she directs the program for Advanced Architectural Research.
Published by Jordan Schnitzer Family Foundation. Edited by Sigrid Asmus. Introduction by Jessica Hunter-Larsen, Megan Valentine. Foreword by Catherine M. Pears. Text by Heidi R. Lewis, Roland Mitchell, Takiyah Nur Amin, Velva Boles, Claire Garcia, Jean Gumpper, Kate Leonard, Venetria K. Patton, Sha'Condria Sibley, Karen Riley Simmons, Claudine Taaffe.
Engaging a wide range of experiences, techniques and materials, the nine artists featured in this volume challenge the images of black women that continue to pervade our culture and influence perceptions: stereotypes such as the suffering mama, the angry black woman and the temptress. Brought together in this publication, works by Romare Bearden, Mildred Howard, Wangechi Mutu, Lorna Simpson, Kara Walker, Robert Colescott, Ellen Gallagher, Alison Saar and Mickalene Thomas disrupt expectations and replace simplistic narratives with nuanced, sophisticated meditations on contemporary identity.
Published by Gregory R. Miller & Co.. Edited by Courtney J. Martin. Introduction by Mary Schmidt Campbell. Text by Christopher Bedford, Joost Bosland, Mary Schmidt Campbell, Andrianna Campbell, Alexis Clark, Nicholas Cullinan, Elvira Dyangani, Jacqueline Francis, Gary Garrels, Mark Godfrey, Thelma Golden, Jamillah James, Hannah Johnston, Eungie Joo, Norman L. Kleeblatt, Thomas J. Lax, Courtney J. Martin, Lucy H. Partman, Lawrence Rinder, James Rondeau, Katy Siegel, Franklin Sirmans, Philippe Vergne, Zoe Whitley. Jessica Morgan in conversation with Leonardo Drew, Jen Mergel with Shinique Smith, Courtney J. Martin with Mark Bradford & Charles Gaines, Gary Garrels with Kevin Beasley, Pamela Joyner & Alfred Giuffrid with Courtney J. Martin. Afterword by Pamela Joyner & Alfred Giuffrida.
The acclaimed overview of Black abstract art, now in an expanded edition with nearly 100 additional color plates
The Joyner/Giuffrida Collection of Abstract Art is widely recognized as one of the most significant collections of modern and contemporary work by artists of the African diaspora and from the continent of Africa itself. Four Generations: The Joyner/Giuffrida Collection of Abstract Art draws upon the collection's unparalleled holdings to explore the critical contributions made by Black artists to the evolution of visual art in the 20th and 21st centuries.
This revised and expanded edition updates Four Generations with several new texts and nearly 100 images of works that have been added to the collection since the initial publication of this influential and widely praised book. Lavishly illustrated and featuring important contributions by leading art historians, critics, and curators, Four Generations gives an essential overview of some of the most notable Black artists and movements of the past century, and their approaches to abstraction in its various forms. Filled with countless insights and visual treasures, Four Generations is a journey through the momentous legacy of postwar art of the African diaspora.
Artists include: Firelei Báez, Romare Bearden, Kevin Beasley, Zander Blom, Mark Bradford, Leonardo Drew, Sam Gilliam, David Hammons, Isaac Julien, Jacob Lawrence, Norman Lewis, Glenn Ligon, Julie Mehretu, Oscar Murillo, Christina Quarles, Robin Rhode, Lorna Simpson, Shinique Smith, Alma Thomas, Kara Walker, Jack Whitten, Lynette Yiadom-Boakye and many others.
Rarely is a monograph on a private collection as revelatory as this—what an extraordinary, rich body of work is packed into these pages. The achievements of the artists, as well as their conceptual and formal daring, leave no doubt that a new page on American art is about to be opened." –Okwui Enwezor
An illustrated study of traditional and figurative art of Africa that reflects the continent’s rich artistic and cultural heritage. African Art explores the continent’s marvelous artistic achievements which share its roots with humanities origins. Sculpture has historically been the chief means of artistic expression. The human figure, whether real or symbolic, is almost the exclusive subject of African art. This vast world of African sculpture is the result of an evolutionary process, based on humanity’s rich history and diversity deriving from migrations, wars, and alliances. During the last century, the African continent has experienced radical transformations in the fields of social and political organizations, the economy and religions. Inevitably, new artistic forms are being established simultaneously with the globalization process and the creation of works for the art market, which retain less and less ties with those of the past. African Art is an exhaustive presentation of the traditional figurative arts of Africa and concisely explains their distinguishing historical, formal, symbolic and functional characteristics. A truly valuable source of inspiration for students, collectors, and travelers alike, this book is complete with a glossary and bibliography.
Ezio Bassani is an art historian and has written extensively on African art.