Description
Publisher/Editor
Samella Lewis, Ph.D.
Associate Editor
M. J. Hewitt, Ph.D.
Assistant Editor
Cynthia Anthony
Most artists experience difficulty in showcasing their work. Perhaps those who suffer most from limited exposure are African American women artists. In many respects, the majority of African American women artists are not comfortable with the Women’s Movement, philosophically, and therefore, fail to share in the gains made by feminist organizations. Consequently, they find themselves alone in “the struggle.”
Historically, artists of color have never been considered nor portrayed as producers of creations worthy of display. The works of many excellent artists have simply been ignored. Curators and editors of ‘major’ institutions and publications tend to play it safe, acknowledging those few women artists of color who are already well–known and nationally recognized. Age–old habit limits the flow of information and thus limits opportunities for the visibility essential to the building and sustaining of careers. Our knowledge of untold generations of creative and talented African American women artists is therefore limited. As a young artist was recently overheard to say, criticism is a great thing because it means someone is really taking your work seriously. Too few women artists have had that benefit.
This issue of The International Review of African American Art features the work of African American women artists who matured during and after the 1960s. The need for this kind of exposure is paramount because, without it, our artist population, of which women comprise a large group, could diminish from lack of interest, encouragement, and support. The loss would negatively affect our communities and the culture in general. Women artists represent a vital force which must be acknowledged.
Alison Saar’s persistence of the figurative; Shirley Woodson’s use of the Nile as metaphor; Tina Dunkley’s work in batik and trapunto; Eve Sandler’s Icon series; Vicki Meek’s installations inspired by Yoruba symbols; Cynthia Hawkins’ spatial explorations on canvas; Mae Engron’s color–and–foil abstractions; and Vivian E. Browne’s juxtaposition of the technological with the natural, together encapsulate an impressive collection of work by talented engaging artists who recognize no boundaries.
—Excerpt from The International Review of African American Art Vol. 9, Issue 2 “African American Woman Artists, Another Generation”
Feature Articles and Contributors:
“Alison Saar: The Persistence of the Figurative”, M.J. Hewitt, Ph.D.
“Eve Sandler”, Joanne Butcher, Ph.D.
“Mae Engron”, M.J. Hewitt, Ph.D.
“Vivian E. Browne: Nature vs. Technology”, Joanne Butcher, Ph.D.
“Cynthia Hawkins”, Thelma Golden
“Book Review”, M.J. Hewitt, Ph.D.
“Vivifying Power: The Nile as Metaphor in the Art of Shirley Woodson”, Bamidele Agbasegbe Demerson
“Freida High Tesfagiorgis”, Joanne Butcher, Ph.D.
“Vicki Meek”, C.J. Clemmons
“Art News”
“Genell Anderson: View of an Architect”, Cynthia Anthony
“Tina Allen: Positive Validations”, Cynthia Anthony
“Nadine DeLawrence: In Cosmic Form”, Samella Lewis, Ph.D.
“Museum and Gallery Preview”
“Tina Dunkley: An Intelligent Sign”, P.K. McCary
“Valerie Maynard”, Cynthia Anthony
“Philemona Williamson: Through the Looking Glass”, Samella Lewis, Ph.D.
Bibliographic Details
Title: The International Review of African American Art
Publisher:
Multicultural Arts, Inc., Los Angeles, California & The International Review of African American Art, Inc., Hollywood, Florida
Publication Date: 1990
Binding: Pictorial Softcover
Book Condition: Excellent
Book Type: Quarterly Magazine
Funding:
Made possible, in part, by a grant from the National Endowment for the Arts.
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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