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This book examines a range of visual expressions of Black Power
across American art and popular culture from 1965 through 1972. It
begins with case studies of artist groups, including Spiral, OBAC
and AfriCOBRA, who began questioning Western aesthetic traditions
and created work that honored leaders, affirmed African American
culture, and embraced an African lineage. Also showcased is an
Oakland Museum exhibition of 1968 called "New Perspectives in Black
Art," as a way to consider if Black Panther Party activities in the
neighborhood might have impacted local artists' work. The
concluding chapters concentrate on the relationship between
selected Black Panther Party members and visual culture, focusing
on how they were covered by the mainstream press, and how they
self-represented to promote Party doctrine and agendas.
This book examines a range of visual expressions of Black Power
across American art and popular culture from 1965 through 1972. It
begins with case studies of artist groups, including Spiral, OBAC
and AfriCOBRA, who began questioning Western aesthetic traditions
and created work that honored leaders, affirmed African American
culture, and embraced an African lineage. Also showcased is an
Oakland Museum exhibition of 1968 called "New Perspectives in Black
Art," as a way to consider if Black Panther Party activities in the
neighborhood might have impacted local artists' work. The
concluding chapters concentrate on the relationship between
selected Black Panther Party members and visual culture, focusing
on how they were covered by the mainstream press, and how they
self-represented to promote Party doctrine and agendas.
By personalizing the experiences of American slaves, Harriet
Beecher Stowe's Uncle Tom's Cabin had a profound effect on public
attitudes toward slavery on the eve of the Civil War, but Stowe's
narrative was not the whole story. Jo-Ann Morgan now reveals how
prints and paintings of Uncle Tom and other characters in the novel
also shaped public perceptions and how this visual culture had its
own impact on history.Through illustrations in various editions of
the book, advertisements for stage productions, paintings of
favourite scenes, and even sheet music for Tom-inspired songs,
Stowe's work took on a visual as well as a textual existence.
Morgan explores the rich visual discourse generated by Uncle Tom's
Cabin within the context of evolving social conditions and
political events of nineteenth-century America to show how images
associated with the text came to have lives of their own. Although
Uncle Tom is a recognized icon of American culture, this is the
first book to concentrate on the visual discourse involving the
character, interpreting a period of American sociocultural history
that has been neglected by art historians. Morgan shows how these
iconic images offered the country a means of both representing and
reinventing its slave past. By examining illustrations by Hammatt
Billings and George Cruikshank and the work of painters such as
Winslow Homer, Eastman Johnson, Henry Ossawa Tanner, and Thomas
Satterwhite Noble, she breaks down boundaries between high art and
popular culture to demonstrate how these distinctions helped
validate the views of elite producers of culture. Morgan argues
that the popularity of Uncle Tom's Cabin made it dangerous to
prevailing attitudes and the institutional structures kept in place
by them, as pictures joined words to challenge patriarchy. She
shows how subsequent visual strategies were used to coax the
subversive potential of Stowe's work back within accepted
boundaries, as imaging of black people was involved in a cultural
backlash against decades of abolition propaganda. Pictures of
figures once read as sympathetic were redefined into an alternative
propaganda to reinforce white supremacy and put limits on African
Americans' access to citizenship after emancipation. Despite the
simultaneous existence of an urban-based, business-class clientele
for paintings and a more popular audience for book illustrations,
show posters, and sheet music, Morgan shows that representations of
blacks tended to reinforce social hierarchies and protect
established regimes. Uncle Tom's Cabin as Visual Culture is a
compelling reexamination of an American icon-and a persuasive case
study in how representations of African Americans change in
response to social and political agendas.
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