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This Companion authoritatively points to the main areas of enquiry
within the subject of African American art history. The first
section examines how African American art has been constructed over
the course of a century of published scholarship. The second
section studies how African American art is and has been taught and
researched in academia. The third part focuses on how African
American art has been reflected in art galleries and museums. The
final section opens up understandings of what we mean when we speak
of African American art. This book will be of interest to graduate
students, researchers, and professors and may be used in American
art, African American art, visual culture, and culture classes.
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Derek Boshier - Reinventor
Helen Little; Foreword by Marco Livingstone; Contributions by James Cahill, Philip Colbert, Eddie Chambers, …
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R1,139
Discovery Miles 11 390
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Ships in 12 - 17 working days
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Providing a thematic overview of the multifarious work produced by
Derek Boshier (b.1937) from the post-war period to the digital age,
this fascinating publication reveals how Boshier’s deceptively
playful imagery offers analytical commentaries on societal issues
and the fragility and fragmentation of human identity. Among
contemporaries such as Peter Blake, Pauline Boty and Peter
Phillips, Boshier was a central figure in the British Pop Art
movement. Embracing Pop sensibilities, his early work juxtaposed
figurative painting and imagery to call attention to nuclear
anxieties and the growing consumerism of 1960s Britain. Yet this is
just one aspect of Boshier's remarkable artistic journey, which has
drawn in painting, drawing, sculpture, film, graphic design and
printmaking. The book's broad sweep includes recent paintings and
drawings created in America at the height of the #MeToo and Black
Lives Matter movements, and features commentaries by artists,
academics, curators and writers who explore how Boshier's
ground-breaking activity interrogates truth and logic, fantasy and
reality in the modern age. With contributions by James Cahill,
Philip Colbert, Eddie Chambers, Susan Compo, Rachele Dini, Inga
Fraser, Jann Haworth, Leslie Jones, Emily Langridge, Gregory
Salter, Penny Slinger and John Stezaker.
This Companion authoritatively points to the main areas of enquiry
within the subject of African American art history. The first
section examines how African American art has been constructed over
the course of a century of published scholarship. The second
section studies how African American art is and has been taught and
researched in academia. The third part focuses on how African
American art has been reflected in art galleries and museums. The
final section opens up understandings of what we mean when we speak
of African American art. This book will be of interest to graduate
students, researchers, and professors and may be used in American
art, African American art, visual culture, and culture classes.
World is Africa brings together more than 30 important texts by
Eddie Chambers, who for several decades has been an original and a
critical voice within the field of African diaspora art history.
The texts range from book chapters and catalogue essays, to shorter
texts. Chambers focuses on contemporary artists and their
practices, from a range of international locations, who for the
most part are identified with the African diaspora. None of the
texts are available online and none have been available outside of
the original publication in which they first appeared. The volume
contains several new pieces of writing, including a consideration
of the art world 'fetishization' of the 1980s, as the manifestation
of a reluctance to accept the majority of Black British artists as
valid individual practitioners, choosing instead to shackle them to
exhibitions that took place three decades ago. Another new text
re-examines the 'map paintings' of Frank Bowling, the Guyana-born
artist who was the subject of a major retrospective at Tate Britain
in 2019. The third introduces the little-known record sleeve
illustrations of Charles White, the American artist who was the
subject of a major retrospective in 2018 at major galleries across
the US. Among the other new texts is a critical reflection on the
patronage the Greater London Council extended to Black artists in
1980s London. World is Africa makes a valuable contribution to the
emerging discipline of black British art history, the field of
African diaspora studies and African diaspora art history.
Black artists have been making major contributions to the British
art scene for decades, since at least the mid-twentieth century.
Sometimes these artists were regarded and embraced as practitioners
of note. At other times they faced challenges of visibility - and
in response they collaborated and made their own exhibitions and
gallery spaces. In this book, Eddie Chambers tells the story of
these artists from the 1950s onwards, including recent developments
and successes. Black Artists in British Art makes a major
contribution to British art history. Beginning with discussions of
the pioneering generation of artists such as Ronald Moody, Aubrey
Williams and Frank Bowling, Chambers candidly discusses the
problems and progression of several generations, including
contemporary artists such as Steve McQueen, Chris Ofili and Yinka
Shonibare. Meticulously researched, this important book tells the
fascinating story of practitioners who have frequently been
overlooked in the dominant history of twentieth-century British
art.
How did a distinct and powerful Black British identity emerge? In
the 1950s, when many Caribbean migrants came to Britain, there was
no such recognised entity as "Black Britain." Yet by the 1980s, the
cultural landscape had radically changed, and a remarkable array of
creative practices such as theatre, poetry, literature, music and
the visual arts gave voice to striking new articulations of
Black-British identity. This new book chronicles the extraordinary
blend of social, political and cultural influences from the
mid-1950s to late 1970s that gave rise to new heights of
Black-British artistic expression in the 1980s. Eddie Chambers
relates how and why during these decades "West Indians" became
"Afro-Caribbeans," and how in turn "Afro-Caribbeans" became
"Black-British" - and the centrality of the arts to this important
narrative. The British Empire, migration, Rastafari, the
Anti-Apartheid struggle, reggae music, dub poetry, the ascendance
of the West Indies cricket team and the coming of Margaret Thatcher
- all of these factors, and others, have had a part to play in the
compelling story of how the African Diaspora transformed itself to
give rise to Black Britain.
World is Africa brings together more than 30 important texts by
Eddie Chambers, who for several decades has been an original and a
critical voice within the field of African diaspora art history.
The texts range from book chapters and catalogue essays, to shorter
texts. Chambers focuses on contemporary artists and their
practices, from a range of international locations, who for the
most part are identified with the African diaspora. None of the
texts are available online and none have been available outside of
the original publication in which they first appeared. The volume
contains several new pieces of writing, including a consideration
of the art world 'fetishization' of the 1980s, as the manifestation
of a reluctance to accept the majority of Black British artists as
valid individual practitioners, choosing instead to shackle them to
exhibitions that took place three decades ago. Another new text
re-examines the 'map paintings' of Frank Bowling, the Guyana-born
artist who was the subject of a major retrospective at Tate Britain
in 2019. The third introduces the little-known record sleeve
illustrations of Charles White, the American artist who was the
subject of a major retrospective in 2018 at major galleries across
the US. Among the other new texts is a critical reflection on the
patronage the Greater London Council extended to Black artists in
1980s London. World is Africa makes a valuable contribution to the
emerging discipline of black British art history, the field of
African diaspora studies and African diaspora art history.
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