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

African Arts ◽  
1991 ◽  
Vol 24 (1) ◽  
pp. 78
Author(s):  
Jontyle Theresa Robinson
Keyword(s):  
African American ◽  
American Art ◽  
African American Art ◽  
Black Art

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

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.

Potter’s Field

2018 ◽  
Author(s):  
Michael Bramwell
Keyword(s):  
African American ◽  
American Art ◽  
American Identity ◽  
Middle Passage ◽  
African American Art ◽  
The Core ◽  
African American Identity ◽  
Black Art ◽  
And Performance ◽  
Historic Trauma

Writing as an installation and performance artist, Michael Bramwell ties Drake to some of the same traumatic legacies of the Middle Passage and slavery that function as a horizon of authenticity in his own art. Bramwell’s video performances of himself sweeping the doorways of abandoned Harlem buildings in a standard-issue janitor’s uniform disrupt easy associations between African American identity and historic forms of oppression typical to celebrations of black art. In this chapter, Bramwell works through an analysis of Drake, while turning and returning to the legacy of historic trauma that lingers at the core of African American 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
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