In this collection distinguished American and European scholars, curators and artists discuss major issues concerning the representation and commemoration of slavery, as brought into sharp focus by the 2007 bicentennial of the abolition of the slave trade. Writers consider nineteenth and twentieth century American and European images of African Americans, art installations, photography, literature, sculpture, exhibitions, performances, painting, film and material culture. This is essential reading for historians, cultural critics, art-historians, educationalists and museologists, in America as in Europe, and an important contribution to the understanding of the African diaspora, race, American and British history, heritage tourism, and transatlantic relations. Contributions include previously unpublished interview material with artists and practitioners, and a comprehensive review of the commemorative exhibitions of 2007. Illustrations include images from Louisiana, Maryland, and Virginia, many previously unpublished, in black and white, which challenge previous understandings of the aesthetics of slave representation. This book was published as a special issue of Slavery and Abolition.

'It will be seen in these pages that I have lived several lives in one: first, the life of slavery; secondly, the life of a fugitive from slavery; thirdly, the life of comparative freedom; fourthly, the life of conflict and battle; and, fifthly, the life of victory, if not complete, at least assured.' First published in 1892, Life and Times of Frederick Douglass Written By Himself is the final autobiography written by Frederick Douglass (1818-1895), a man who was born into slavery in Talbot County, Maryland. Securing his self-liberation at twenty years of age in 1838, he went on to become the most renowned antislavery activist, social justice campaigner, author, orator, philosopher, essayist, historian, intellectual, statesman, and liberator in U.S. history. A powerful literary work, Douglass' final autobiography shares the stories of his 'several lives in one.' Beginning with his war against 'the hell-black system of human bondage,' Douglass bears witness to his personal experiences of mind-body-and soul-destroying tragedies. Living a new life as a 'fugitive from slavery,' he tells his audiences of his decades-long labours as a world-leading freedom-fighter. Ever vigilant in his protest against the discriminatory persecutions endured by millions of 'my people,' he testifies to the terrible reality that his 'life of comparative freedom' necessitated a lifelong fight against the inhumane injustices of 'American prejudice against colour.' Living a death-defying 'life of conflict and battle' during the Civil War, Douglass celebrates the 'life of victory' promised by post-war civil rights legislation only to condemn the failures of the U.S. nation either to exterminate slavery or secure equal rights for all. All too painfully aware that the 'conflict between the spirit of liberty and the spirit of slavery' was far from over and would become the unending struggle for 'aftercoming generations' in the ongoing war against white supremacy, Douglass remained a fearless fighter against the 'infernal and barbarous spirit of slavery' 'wherever I find it' to the day that he died. This new edition examines Douglass' memorialization of his own and his mother Harriet Bailey's first-hand experiences of enslavement and of their 'mental' liberation through a 'love of letters'; his representation of Civil War Black combat heroism; his conviction that 'education means emancipation'; and finally, his 'unending battle' with white publishers for the freedom to 'tell my story.' This volume reproduces Frederick Douglass' emotionally powerful and politically hard-hitting anti-lynching speech, Lessons of the Hour, published in 1894. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.

This book examines the quilts, ceramics, paintings, sculpture, installations, assemblages, daguerreotypes, photography and performance art produced by African American artists over a two hundred year period. The author draws on archaeological discoveries and unpublished archival materials to recover the lost legacies of artists living and working in the United States. As the first critical study to provide in-depth case studies of twenty artists, this book introduces readers to works created in response to the Middle Passage, Atlantic slavery, lynching, racism, segregation, and the fight for civil rights. Bernier examines little-discussed panoramas, murals, portraits, textile designs, collages and mixed-media installations to get to grips with key motifs and formal issues within African American art history. Working within this tradition, artists experiment with cutting edge techniques and alternative subject-matter to undermine racist iconography and endorse a new visual language. They push thematic and formal boundaries to create powerful narratives and epic histories of creativity, labour, discrimination, suffering and resistance. By providing close readings of works by artists such as Elizabeth Catlett, Jacob Lawrence, William Edmondson, Howardena Pindell, Charles Alston, Romare Bearden, Norman Lewis, Betye Saar, Horace Pippin and Kara Walker, this book sheds new light on the thematic and formal complexities of an African American art tradition which still remains largely shrouded in mystery. Includes 16 colour photographs.

'It was said to me, "Better have a little of the plantation manner of speech than not; 'tis not best that you seem too learned."' Appearing in 1855, My Bondage and My Freedom is the second autobiography written by Frederick Douglass (1818-95), a man who was born into slavery in Maryland and who went on to become the most famous antislavery author, orator, philosopher, essaysist, historian, intellectual, statesman and freedom-fighter in US history. An instant bestseller, Douglass's autobiography tells the story of his early life as lived in 'bondage' and of his later life as lived in a 'freedom' that was in name only. Recognizing that his body and soul were bought and sold by white slaveholders in the US South, he soon realized his story was being traded by white northern antislavery campaigners. Douglass's My Bondage and My Freedom is a literary, intellectual and philosophical tour-de-force in which he betrays his determination not only to speak but to write 'just the word that seemed to me the word to be written by me.' This new edition examines Douglass's biography, literary strategies and political activism alongside his depiction of Black women's lives and his narrative histories of Black heroism. This volume also reproduces Frederick Douglass's only work of fiction, The Heroic Slave, published in 1853.

Previously unseen speeches, letters, autobiographies, and photographs of Frederick Douglass and his sons, Lewis Henry, Frederick Jr. and Charles Remond Douglass, from the Walter O. Evans collection While the many public lives of Frederick Douglass - as the representative 'fugitive slave', autobiographer, orator, abolitionist, reformer, philosopher and statesman - are lionised worldwide, If I Survive sheds light on the private life of Douglass the family man. For the first time, this book provides readers with a collective biography mapping the activism, authorship and artistry of Douglass and his sons, Lewis Henry, Frederick Jr. and Charles Remond Douglass. In one volume, the history of the Douglass family appears alongside full colour facsimile reproductions of their over 80 previously unpublished speeches, letters, autobiographies and photographs held in the Walter O. Evans Collection. All of life can be found within these pages: romance, hope, despair, love, life, death, war, protest, politics, art, and friendship. Working together and against a changing backdrop of US slavery, Civil War and Reconstruction, the Douglass family fought for a new 'dawn of freedom'. Marking the 200th anniversary of Frederick Douglass' birth, this first collective history and comprehensive collection of the Douglass family writings and portraits sheds new light not only on Douglass as a freedom-fighter and family man but on the lives and works of Lewis Henry, Frederick Jr., and Charles Remond. As civil rights protesters, essayists, autobiographers, and orators in their own right, they each played a vital role in the 'struggles for the cause of liberty' of their father. As published here, each of their original writings and portraits is accompanied by an explanatory essay and in-depth scholarly annotatations as well as a detailed bibliography. Recognising that the Frederick Douglass that is needed in a twenty-first century Black Lives Matter era is no infallible icon but a mortal individual, If I Survive situates the lives and works of Douglass and his family within the social, political, historical and cultural contexts in which they lived and worked. Each unafraid to die for the cause, they dedicated their lives to the "emancipation of the slave" and to social justice by every means necessary. The Foreword is written by Robert S. Levine and the Afterword is authored by Kim F. Hall.

The second book in a three-volume series on Black American artists, featuring work from the 1950s to the 1970s that responded to the cultural, political, and social concerns of the era During the turbulent 1950s to 1970s, Black American artists, responding to increasing civil rights activism, challenged inequities in the art world. Artists created works that celebrated their racial identity, connected with Black audiences, and participated in the struggle for political, economic, and social equality. The establishment of artist collectives, such as Spiral, and museums devoted to Black art, including the Studio Museum in Harlem, alongside the emergence of art historians and critics such as David Driskell and Linda Goode Bryant, marked early steps to bring Black art into broader artistic discourse.   The book features 140 color illustrations of paintings, sculptures, and works on paper by such celebrated artists as Romare Bearden, Sam Gilliam, Jacob Lawrence, Norman Lewis, Howardena Pindell, and Alma Thomas, as well as by under-recognized artists. Essays provide an overview of the period and in-depth examinations of James A. Porter, an artist and art historian credited with establishing the field of African American art history, and Merton D. Simpson, an abstract painter, member of the Spiral group, and one of the most important dealers of African art in the United States. Published in association with the Dixon Gallery and Gardens Exhibition Schedule: Dixon Gallery and Gardens, Memphis (October 22, 2023–January 14, 2024)   Crocker Art Museum, Sacramento (February 4–May 19, 2024)

Celebrated for his compelling lyrical films and video art installations, Isaac Julien is one of the leading artists working today. This landmark book reveals the scope of Julien’s pioneering practice of over forty years, from the early 1980s to the present day, showcasing works from early films to large-scale, multi-screen installations which investigate the movement of peoples across different continents, times and spaces. It includes some of his early projects as part of Sankofa Film and Video Collective (1983–92); his critically acclaimed ten-screen video installation Lessons of the Hour 2019, a portrait of the life and times of Frederick Douglass, the visionary African American orator, philosopher and self-liberated freedom-fighter; and Once Again … (Statues Never Die) 2022. The wide range of writers and collaborators who have contributed to this book highlight Julien's critical thinking and the way his work breaks down barriers between different artistic disciplines, drawing from film, dance, photography, music, theatre, painting and sculpture by using the themes of desire, history and culture. Featuring strikingly beautiful reproductions of these extraordinarily powerful works, this publication enriches our understanding and appreciation of a remarkable artist.

Previously unseen speeches, letters, autobiographies, and photographs of Frederick Douglass and his sons, Lewis Henry, Frederick Jr. and Charles Remond Douglass, from the Walter O. Evans collection While the many public lives of Frederick Douglass - as the representative 'fugitive slave', autobiographer, orator, abolitionist, reformer, philosopher and statesman - are lionised worldwide, If I Survive sheds light on the private life of Douglass the family man. For the first time, this book provides readers with a collective biography mapping the activism, authorship and artistry of Douglass and his sons, Lewis Henry, Frederick Jr. and Charles Remond Douglass. In one volume, the history of the Douglass family appears alongside full colour facsimile reproductions of their over 80 previously unpublished speeches, letters, autobiographies and photographs held in the Walter O. Evans Collection. All of life can be found within these pages: romance, hope, despair, love, life, death, war, protest, politics, art, and friendship. Working together and against a changing backdrop of US slavery, Civil War and Reconstruction, the Douglass family fought for a new 'dawn of freedom'. Marking the 200th anniversary of Frederick Douglass' birth, this first collective history and comprehensive collection of the Douglass family writings and portraits sheds new light not only on Douglass as a freedom-fighter and family man but on the lives and works of Lewis Henry, Frederick Jr., and Charles Remond. As civil rights protesters, essayists, autobiographers, and orators in their own right, they each played a vital role in the 'struggles for the cause of liberty' of their father. As published here, each of their original writings and portraits is accompanied by an explanatory essay and in-depth scholarly annotatations as well as a detailed bibliography. Recognising that the Frederick Douglass that is needed in a twenty-first century Black Lives Matter era is no infallible icon but a mortal individual, If I Survive situates the lives and works of Douglass and his family within the social, political, historical and cultural contexts in which they lived and worked. Each unafraid to die for the cause, they dedicated their lives to the "emancipation of the slave" and to social justice by every means necessary. The Foreword is written by Robert S. Levine and the Afterword is authored by Kim F. Hall.

Provides a wide-ranging entry point and intervention into scholarship on nineteenth-century American letter-writing This comprehensive study by leading scholars in an important new field--the history of letters and letter writing--is essential reading for anyone interested in nineteenth-century American politics, history or literature. Because of its mass literacy, population mobility, and extensive postal system, nineteenth-century America is a crucial site for the exploration of letters and their meanings, whether they be written by presidents and statesmen, scientists and philosophers, novelists and poets, feminists and reformers, immigrants, Native Americans, or African Americans. This book breaks new ground by mapping the voluminous correspondence of these figures and other important American writers and thinkers. Rather than treating the letter as a spontaneous private document, the contributors understand it as a self-conscious artefact, circulating between friends and strangers and across multiple genres in ways that both make and break social ties. Key Features Draws together different emphases on the intellectual, literary and social uses of letter writing Provides students and researchers with a means to situate letters in their wider theoretical and historical contexts Methodologically expansive, intellectually interrogative chapters based on original research by leading academics Offers new insights into the lives and careers of Louisa May Alcott, Charles Brockden Brown, Emily Dickinson, Frederick Douglass, Margaret Fuller, Henry James, Thomas Jefferson, Abraham Lincoln, Herman Melville, Harriet Beecher Stowe, and Edgar Allan Poe, among many others

Commemorating the bicentennial of Frederick Douglass's birthday and featuring images discovered since its original publication in 2015, this "tour de force" (Library Journal, starred review) reintroduced Frederick Douglass to a twenty-first-century audience. From these pages-which include over 160 photographs of Douglass, as well as his previously unpublished writings and speeches on visual aesthetics-we learn that neither Custer nor Twain, nor even Abraham Lincoln, was the most photographed American of the nineteenth century. Indeed, it was Frederick Douglass, the ex-slave-turned-abolitionist, eloquent orator, and seminal writer, who is canonized here as a leading pioneer in photography and a prescient theorist who believed in the explosive social power of what was then just an emerging art form. Featuring: Contributions from Henry Louis Gates, Jr., and Kenneth B. Morris, Jr. (a direct Douglass descendent) 160 separate photographs of Douglass-many of which have never been publicly seen and were long lost to history A collection of contemporaneous artwork that shows how powerful Douglass's photographic legacy remains today, over a century after his death All Douglass's previously unpublished writings and speeches on visual aesthetics

Inside the Invisible provides the first examination of the work of Turner Prize-winning Black British artist and curator Professor Lubaina Himid CBE. This comprehensive volume breaks new ground by theorizing her development of an alternative visual and textual language within which to do justice to the hidden histories and untold stories of Black women, children, and men bought and sold into transatlantic slavery. For Himid, the act of forgetting within official sites of memory is indivisible from the art of remembering within an African diasporic art historical tradition. She interrogates the widespread distortion and even wholesale erasure of Black bodies and souls subjected to dehumanizing stereotypes and grotesque caricatures within western imaginaries and dominant iconographic traditions over the centuries. Creating bodies of work in which she comes to grips with the physical and psychological realities of iconic and anonymous African diasporic individuals as living breathing human beings rather than as objectified types, she bears witness not only to tragedy but to triumph. A self-appointed researcher, historian, and storyteller as well as an artist, she succeeds in seeing "inside the invisible" regarding untold narratives of Black agency and artistry by mining national archives, listening to oral stories, acknowledging art-making traditions, and revisiting autobiographical testimonies.

The purpose of this book is to excavate and recover a wealth of under-examined artworks and research materials directly to interrogate, debate and analyse the tangled skeins undergirding visual representations of transatlantic slavery across the Black diaspora. Living and working on both sides of the Atlantic, as these scholars, curators and practitioners demonstrate, African diasporic artists adopt radical and revisionist practices by which to confront the difficult aesthetic and political realities surrounding the social and cultural legacies let alone national and mythical memories of Transatlantic Slavery and the international Slave Trade. Adopting a comparative perspective, this book investigates the diverse body of works produced by black artists as these contributors come to grips with the ways in which their neglected and repeatedly unexamined similarities and differences bear witness to the existence of an African diasporic visual arts tradition. As in-depth investigations into the diverse resistance strategies at work within these artists' vast bodies of work testify, theirs is an ongoing fight for the right to art for art's sake as they challenge mainstream tendencies towards examining their works solely for their sociological and political dimensions. This book adopts a cross- cultural perspective to draw together artists, curators, academics, and public researchers in order to provide an interdisciplinary examination into the eclectic and experimental oeuvre produced by black artists working within the United States, the United Kingdom and across the African diaspora. The overall aim of this book is to re-examine complex yet under-researched theoretical paradigms vis-a-vis the patterns of influence and cross-cultural exchange across both America and a black diasporic visual arts tradition, a vastly neglected field of study.

Battleground is the first illustrated history of contemporary African American art. The volume offers an in-depth examination of twenty-five Black artists, discussing their artworks, practices, and philosophies, as expressed in their own words. Celeste-Marie Bernier has done extensive archival work in sources that have not been studied before, and her research provides a foundation for an intellectual and cultural history of contemporary African American artists and art movements from 1990 to the present. The wealth of quoted material-published interviews, artist statements, and autobiographical essays-should inform and inspire additional research in the years to come. Battleground examines the paintings, drawings, sculptures, and installation, digital, and performance art produced by twenty-five Black artists living and working in the United States over the last three decades. The artists studied in this book include Emma Amos, Radcliffe Bailey, Mary Lee Bendolph, Chakaia Booker, Beverly Buchanan, Willie Cole, Leonardo Drew, Meta Vaux Warrick Fuller, Myra Greene, Lyle Ashton Harris, Ronald Lockett, Whitfield Lovell, Kerry James Marshall, Lorraine O'Grady, Jefferson Pinder, Debra Priestly, Winfred Rembert, Nellie Mae Rowe, Alison Saar, Dread Scott, Clarissa T. Sligh, LaShawnda Crowe Storm, Mickalene Thomas, Nari Ward, and Pat Ward Williams.

The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier's remarkable text forcibly asserts the originality and importance of Black artists' work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies. Artists featured: Larry Achiampong Hurvin Anderson Benny Andrews Rasheed Araeen Jean-Michel Basquiat Zarina Bhimji Sutapa Biswas Frank Bowling Sonia Boyce Vanley Burke Chila Kumari Burman Eddie Chambers Thornton Dial Godfried Donkor Kimathi Donkor Sokari Douglas Camp Melvin Edwards Mary Evans Nicola Frimpong Joy Gregory Bessiey Harvey Mona Hatoum Lubaina Himid Lonnie Holley Gavin Jantjes Claudette Johnson Tam Joseph Roshini Kempadoo Juginder Lamba Hew Locke Steve McQueen Chris Ofili Keith Piper Ingrid Pollard Thomas J. Price Noah Purifoy Faith Ringgold Donald Rodney Betye Saar Joyce J. Scott Yinka Shonibare Gurminder Sikand Marlene Smith Maud Sulter Barbara Walker Kara Walker Carrie Mae Weems Deborah Willis Hank Willis Thomas Lynette Yiadom-Boakye

This comprehensive study by leading scholars in an important new field--the history of letters and letter writing--is essential reading for anyone interested in nineteenth-century American politics, history or literature.

For self-made artist and soldier Horace Pippin-who served in the 369th all-black infantry in World War I until he was wounded-war provided a formative experience that defined much of his life and work. His ability to transform combat service into canvases of emotive power, psychological depth, and realism showed not only how he viewed the world but also his mastery as a painter. In Suffering and Sunset, Celeste-Marie Bernier painstakingly traces Pippin's life story of art as a life story of war. Illustrated with more than sixty photographs, including works in various mediums-many in full color-this is the first intellectual history and cultural biography of Pippin. Working from newly discovered archives and unpublished materials, Bernier provides an in-depth investigation into the artist's development of an alternative visual and textual lexicon and sheds light on his work in its aesthetic, social, and political contexts. Suffering and Sunset illustrates Pippin's status as a groundbreaking artist as it shows how this African American painter suffered from but also staged many artful resistances to racism in a white-dominated art world.

In this collection distinguished American and European scholars, curators and artists discuss major issues concerning the representation and commemoration of slavery, as brought into sharp focus by the 2007 bicentennial of the abolition of the slave trade. Writers consider nineteenth and twentieth century American and European images of African Americans, art installations, photography, literature, sculpture, exhibitions, performances, painting, film and material culture. This is essential reading for historians, cultural critics, art-historians, educationalists and museologists, in America as in Europe, and an important contribution to the understanding of the African diaspora, race, American and British history, heritage tourism, and transatlantic relations. Contributions include previously unpublished interview material with artists and practitioners, and a comprehensive review of the commemorative exhibitions of 2007. Illustrations include images from Louisiana, Maryland, and Virginia, many previously unpublished, in black and white, which challenge previous understandings of the aesthetics of slave representation.

This book was published as a special issue of Slavery and Abolition.