Vanessa D. Thaxton–Ward, Ph.D.
Michael D. Harris, Ph.D.
William R. Harvey, Ed.D.
The artists herein have labored for many years without always receiving the bright appreciation that some of their predecessors or contemporaries might have enjoyed. Romare Bearden, Jacob Lawrence, Sam Gilliam, Faith Ringgold, Martin Puryear, Elizabeth Catlett, David Driskell, among others, have enjoyed critical and, in some cases, financial success that is admirable. These artists worked in dialogue with, and in many cases, knew well, the successful artists of their generation, but they did not receive the notoriety of their contemporaries. They have been respected, and their work is complicated, masterful and fascinating as any. They committed themselves to making art, and often they made the choice to fight the visual with the visual; to make statements with a communal consciousness that addressed, confronted, undermined, or revealed the racial discourse in which they found themselves.
The essays in this issue, in many cases, explore more than biography. The unique voices of the authors add a layer of perspective atop the diverse individuality and creative tendencies of the artists they investigate.
The artists discussed in this volume, some of whom have joined the ancestors, worked in an art historical context that often was hostile to artists of color. Their careers overlapped the Civil Rights and Black Arts Movements and often addressed issues from these powerful social movements. These artists, like so many of their counterparts beginning during the era of the Harlem Renaissance, often supported themselves by working as educators while maintaining their commitment to making art. Still, they persisted, often using art as a verb synonymous with love. Art was a trumpet in social movements, an evocation and a bulwark against the storms buffeting their individuality and their collective identity. It was both the metaphorical persistence of non–violent resistance, and a call–to–arms. It was a way to sing the blues, and to be seen, noticed and useful; it was a means to the truth of self.
—Excerpt from “Seeing Black and Blues” by Michael D. Harris, Ph.D.
Feature Articles and Contributors:
“Letter from the Editor, Seeing Black and Blues”, Michael D. Harris, Ph.D.
“The Realization of an Aesthetic: Jeff Donaldson’s Wives of Sango”,
Tuliza Fleming, Ph.D.
“Expressing the Black Interior: The Queen Songs of Murry DePillars”,
Michael D. Harris, Ph.D.
“John Biggers’ Quilting Party: Will the Circle Be Unbroken?”,
Sophia Sanders, Ph.D.
“Interview with Jon Onye Lockard”, Michael D. Harris, Ph.D.
Title: The International Review of African American Art
Publisher: The Hampton University Museum, Hampton, Virginia
Publication Date: 2019
Binding: Pictorial Softcover
Book Condition: Excellent
Book Type: Quarterly Magazine
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.