Rethinking Social Realism: African American Art and Literature, 1930-1953 (review)

2006 ◽  
Vol 52 (3) ◽  
pp. 725-727
Author(s):  
James Edward Smethurst
Keyword(s):  
African American ◽  
American Art ◽  
Social Realism ◽  
African American Art ◽  
Art And Literature

Black Art: Ancestral Legacy: The African Impulse in African-American Art

African Arts ◽  
1992 ◽  
Vol 25 (2) ◽  
pp. 28
Author(s):  
Freida High W. Tesfagiorgis ◽  
Robert V. Rozelle ◽  
Alvia J. Wardlaw ◽  
Maureen A. McKenna
Keyword(s):  
African American ◽  
American Art ◽  
African American Art ◽  
Black Art

Diversity of Contemporary African American Art

2012 ◽  
Vol 86 (1-4) ◽  
pp. 88-123
Author(s):  
Valerie J. Mercer ◽  
Mora J. Beauchamp-Byrd ◽  
MaryAnn Wilkinson ◽  
Stephanie James ◽  
Nancy Sojka ◽  
...  
Keyword(s):  
African American ◽  
American Art ◽  
African American Art

On the Blackness of Post-Blackness

2019 ◽  
pp. 33-60
Author(s):  
Cameron Leader-Picone
Keyword(s):  
African American ◽  
American Art ◽  
Original Formulation ◽  
African American Art ◽  
Linked Fate ◽  
Racial Categorization ◽  
Individual Agency ◽  
Black Art ◽  
American Artists ◽  
African American Artists

This chapter argues that Colson Whitehead’s novel Sag Harbormirrors post-Black art’s emphasis on simultaneously rejecting and embracing the racial categorization of African American art. In doing so, Whitehead’s novel represents a qualified liberation for African American artists that optimistically imagines a freedom from racial categorizations that is still rooted in them. This chapter analyzes Whitehead’s novel in the context of the competing definitions of post-Blackness offered by Touré in Who’s Afraid of Post-Blackness? as well as in the original formulation by Thelma Golden. Employing a framework of “racial individualism,” the chapter argues that a loosening sense of linked fate has led to the privileging of individual agency over Black identity. In doing so, post-Blackness serves to discursively liberate African American artists from any prescriptive ideal of what constitutes black art without implying either a desire or intent to not address issues of race.

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