Limited Edition: The International Review of African American Art, Vol. 20 No. 3 (2005)


Published in 2005, this 64–page volume of the Hampton University Museum’s The International Review of African American Art is dedicated to the generational impact of Black art on Black communities. Included in this issue are many color and black & white photographs of artists’ works, with very insightful commentaries by highly respected art reviewers.

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Juliette Harris

Executive Publisher
William R. Harvey, Ed.D.

In 1979, when Sister Sledge sang “I got all my sistas with me,” the message and energy was infectious to women of all colors who were identifying as a kinship group around gender. At the time, group kinship sensibilities also were expanding to include not just blood, race and gender relations but other areas, including art. The notion of a kindred community coalescing around African American art dates back to that time. With galleries opening and the founding of the first African American museums, the founding and national distribution of this journal, artists coming together at FESTAC ’77, in the National Conference of Artists and the like, we were becoming a cohesive community. Some folks had both feet in. Some had one foot in the mainstream but that was all right, too—the increasing recognition of African American artists in the larger art world underscored and fortified the importance of the art. Some members of the African American art community were non–Black because affinities flowed beyond demarcations. The seeds of the community had formed between the 1920s–1940s via networks stemming from Howard University, the collectives of artists Charles Alston and Augusta Savage in New York and from W.P.A. centers in Chicago, Philadelphia and Cleveland.

The elders of the African American art community have spawned progeny that are advancing its efforts and making their own distinctive marks. Focusing on the intertwining relations among and between these generations, this issue does not attempt to cover the entire terrain or tree. Fairly early in our preparations, we knew that not even all of the prominent members of the family could be covered within one issue. So the “generations” theme will continue in a section of our next issue, a general issue that will include other kinds of articles. While primarily focusing on blood relations, the “generations” theme also covers close mentor–protégé relations such as those of Hale Woodruff, Eugene Grigsby and Rip Woods who are featured in this issue.

—Excerpt From “We Are Family”

Feature Articles and Contributors:

“Porter Meets Tanner”, Coni Porter Uzelac

“Norman Lewis—Tarin Fuller”, Juliette Harris

“On Walls and the Walkers”, Fo Wilson

“Generations”, Lillian Burwell

“Growing Up With Art All Around”, Rhonda Brown Saffold

“Hampton Generations Living In Art”

“Reminiscing With Reggie”, Gary Eugene Jefferson

“Picturing Us: Together”, Clarissa T. Sligh

“The Flemings”, Michael D. Harris, Ph.D.

“Wonders of the House of Saar”, Fleur Paysour

“Sam and Leah Gilliam”, Myrtis Bedolla

“From Woodruff to Grigsby to Woods: A Cross–Generational Holiday Tradition”

Bibliographic Details

Title:                                      The International Review of African American Art

Publisher:                            The Hampton University Museum, Hampton, Virginia

Publication Date:              2005

Binding:                                Pictorial Softcover

Book Condition:                Excellent

Book Type:                          Quarterly Magazine

Shipping Terms:

All books are padded and wrapped carefully.  Most are shipped in a box, unless very small, in which case they will be shipped in a padded envelope.


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