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Books : History : United States : African Americans : African American
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Where We Stand is a powerful new book by one of America's most admired critics and writers. For years we have turned to bell hooks-feminist, social thinker, memoirist, teacher-for her deeply felt ideas on women, race, culture, sexuality, and more recently on love and children. Now Bell Hooks talks about class-the 'elephant in the room'-the subject we all know is central to our culture and its problems but that hasn't been given the attention it so desperately needs.
Why is it that the face of poverty in America is a black face, even though most of the thirty-six million poor in America are white? How do fantasies of wealth's power help keep the poor poor? What do black teens want, and how do they learn to want it? Are wealthy black Americans any more aware of class issues than wealthy whites? Why do we need so much money, after all?
Bell Hooks talks about these subjects in her own style. Drawing on both her roots in Kentucky and her adventures with Manhattan coop boards, Where We Standis a successful black woman's reflection-personal, straight forward, and rigorously honest-on how our dilemmas of class and race are intertwined, and how we can find ways to think beyond them.
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In 2002, Gee’s Bend burst into international prominence through the success of Tinwood’s Quilts of Gee’s Bend exhibition and book, which revealed an important and previously invisible art tradition from the African American South. Critics and popular audiences alike marveled at these quilts that combined the best of contemporary design with a deeply rooted ethnic heritage and compelling human stories about the women. Gee's Bend: The Architecture of the Quilt is a major book and museum exhibition that will premiere at the Museum of Fine Arts, Houston (MFAH), in June 2006 before traveling to seven American museums through 2008. The book's 330 color illustrations and insightful text bring home the exciting experience to readers while displaying all the cultural heritage and craftsmanship that have gone into these remarkable quilts.
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Since the 19th century, the women of Gee’s Bend in southern Alabama have created stunning, vibrant quilts. Beautifully illustrated with 110 color illustrations, The Quilts of Gee’s Bend includes a historical overview of the two hundred years of extraordinary quilt-making in this African-American community, its people, and their art-making tradition. This book is being·released in conjunction with a national exhibition tour including The Museum of Fine Art, Houston, and the Whitney Museum of American Art.
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This is the story of how America awakened to its race problem, of how a nation that longed for unity after World War II came instead to see, hear, and learn about the shocking indignities and injustices of racial segregation in the South—and the brutality used to enforce it.
It is the story of how the nation’s press, after decades of ignoring the problem, came to recognize the importance of the civil rights struggle and turn it into the most significant domestic news event of the twentieth century.
Drawing on private correspondence, notes from secret meetings, unpublished articles, and interviews, veteran journalists Gene Roberts and Hank Klibanoff go behind the headlines and datelines to show how a dedicated cadre of newsmen—first black reporters, then liberal southern editors, then reporters and photographers from the national press and the broadcast media—revealed to a nation its most shameful shortcomings and propelled its citizens to act.
We watch the black press move bravely into the front row of the confrontation, only to be attacked and kept away from the action. Following the Supreme Court’s 1954 decision striking down school segregation and the South’s mobilization against it, we see a growing number of white reporters venture South to cover the Emmett Till murder trial, the Montgomery bus boycott, and the integration of the University of Alabama.
We witness some southern editors joining the call for massive resistance and working with segregationist organizations to thwart compliance. But we also see a handful of other southern editors write forcefully and daringly for obedience to federal mandates, signaling to the nation that moderate forces were prepared to push the region into the mainstream.
The pace quickens in Little Rock, where reporters test the boundaries of journalistic integrity, then gain momentum as they cover shuttered schools in Virginia, sit-ins in North Carolina, mob-led riots in Mississippi, Freedom Ride buses being set afire, fire hoses and dogs in Birmingham, and long, tense marches through the rural South.
For many journalists, the conditions they found, the fear they felt, and the violence they saw were transforming. Their growing disgust matched the mounting countrywide outrage as The New York Times, Newsweek, NBC News, and other major news organizations, many of them headed by southerners, turned a regional story into a national drama.
Meticulously researched and vividly rendered, The Race Beat is an unprecedented account of one of the most volatile periods in our nation’s history, as told by those who covered it.
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"This fine collection of perspectives and information will fill a major gap and help to push communication study in an urgently needed direction. Undergraduates, graduate students, and faculty alike have much to gain from this text." --John Downing, Department of Radio-Television-Film, University of Texas, Austin "This is a well-conceived and provocative collection that goes a long way toward filling a real void in available classroom textbooks. I have no doubt that it will provoke many hours of discussion and debate about the relations between contemporary media forms and the politics of identity and difference." --Larry Grossberg, Morris Davis Professor of Communication Studies, University of North Carolina, Chapel Hill "This is one of the few books that really attempts to take the topic of mass media seriously while demonstrating a range of languages and approaches that illustrate what doing cultural studies is actually about." --Henry Giroux, Waterbury Chair, The Pennsylvania State University "A terrific book--broad based in cultural and critical studies. Gender, Race, and Class in Media is an excellent text for courses in which multiple perspectives are represented." --Ellen Wartella, Dean, College of Communication, University of Texas, Austin An introductory text-reader, Gender, Race, and Class in Media critically examines the mass media as economic and cultural institutions that shape our social identities, especially in regard to gender, race, and class. Through an analysis of such popular genres as soap operas, talk shows, rap music, sitcoms, rock videos, pornography, made-for-TV movies, advertising, and romance novels, students are invited to engage in critical mass media scholarship. From a critical/cultural perspective, the comprehensive introduction delineates the major paradigms in media studies today. It outlines the text's integrated approach to media studies, which incorporates three distinct but related areas of investigation within media studies: political economy of production textual analysis audience response/resistance Chapter introductions to the selected readings, which are drawn from original essays and influential previously published articles, provide a framework for understanding and analyzing how gender, race, and class are structural and experiential categories that inform the production, construction, and consumption of media representations. Gender, Race, and Class in Media is designed as a comprehensive critical introduction to mass media, but it can also be used as a supplement to a more standard text. This text-reader is also valuable for such courses as sociology of media, media criticism, cultural studies, popular culture, journalism, visual literacy, and especially where a critical approach is used.
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Kara Walker is among the most complex and prolific American artists of her generation. Over the past decade, she has gained international recognition for her room-sized tableaux, which depict historical narratives haunted by sexuality, violence and subjugation and are made using the paradoxically genteel eighteenth-century art of cut-paper silhouettes. Set in the antebellum American South, Walker's compositions play off of stereotypes to portray, often grotesquely, life on the plantation, where masters, mistresses and slave men, women and children enact a subverted version of the past in an attempt to reconfigure their status and representation. Over the years, the artist has used drawing, painting, colored-light projections, writing, shadow puppetry, and, most recently, film animation to narrate her tales of romance, sadism, oppression and liberation. Her scenarios thwart conventional readings of a cohesive national history and expose the collective, and ongoing, psychological injury caused by the tragic legacy of slavery. Deploying an acidic sense of humor, Walker examines the dialectics of pleasure and danger, guilt and fulfillment, desire and fear, race and class. This landmark publication, which is sure to win international design awards, accompanies Walker's first major American museum survey. It features critical essays by Philippe Vergne, Sander L. Gilman, Thomas McEvilley, Robert Storr and Kevin Young, as well as an illustrated lexicon of recurring themes and motifs in the artist's most influential installations by Yasmil Raymond, more than 200 full-color images, an extensive exhibition history and bibliography, and a 36-page insert by the artist.
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Avoiding the easy definitions and caricatures that tend to celebrate or condemn the "hip hop generation," Hip Hop Matters focuses on fierce and far-reaching battles being waged in politics, pop culture, and academe to assert control over the movement. At stake, Watkins argues, is the impact hip hop has on the lives of the young people who live and breathe the culture. He presents incisive analysis of the corporate takeover of hip hop and the rampant misogyny that undermines the movement's progressive claims. Ultimately, we see how hip hop struggles reverberate in the larger world: global media consolidation; racial and demographic flux; generational cleavages; the reinvention of the pop music industry; and the ongoing struggle to enrich the lives of ordinary youth.
"Watkins wisely chooses to focus on what has not been said . . . [and] tells his version of hip-hop's history in lyrical prose, often mirroring the rhythms and wordplay of the music he's discussing. This is undoubtedly a book for fans, but it is also an intriguing look at how hip-hop has become part of a universal cultural conversation." —Publishers Weekly
"Offering a fast-moving and well-researched book, Watkins successfully unearths some of the disturbing and encouraging implications of hip-hop culture." —Library Journal
"Quite an exposition of all things hip-hop." —Mike Tribby, Booklist
S. Craig Watkins is associate professor of radio-TV-film, sociology, and African American Studies at the University of Texas, Austin. He lives in Austin, Texas.
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Completely updated and greatly expanded to include the explosion of black film stars and filmmakers that came out of the '70s and '80s, this comprehensive guide covers the entire history of African-Americans in films, from the shocking images in Birth of a Nation to Spike Lee's controversial Malcolm X. Photos. Index.
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700 pages with 10,000 entries, this unique dictionary simplifies the complex hip-hop slang vernacular.
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The Black Panther Party for Self Defense, formed in the aftermath of the assassination of Malcolm X in 1965, remains one of the most controversial movements of the 20th-century. Founded by the charismatic Huey P. Newton and Bobby Seale, the party sounded a defiant cry for an end to the institutionalized subjugation of African Americans. The Black Panther newspaper was founded to articulate the party's message and artist Emory Douglas became the paper's art director and later the party's Minister of Culture.Douglas's artistic talents and experience proved a powerful combination: his striking collages of photographs and his own drawings combined to create some of the era's most iconic images, like that of Newton with his signature beret and large gun set against a background of a blood-red star, which could be found blanketing neighborhoods during the 12 years the paper existed.This landmark book brings together a remarkable lineup of party insiders who detail the crafting of the party's visual identity.
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The teaching guides developed for Elementary schools were created to support 5th grade American history content standards and learning frameworks. They present lesson ideas for each chapter and also groups of chapters called Parts. Part activities help to set context for reading and present overview concepts for the chapters, as well as introduce timeline and map concepts to help frame understanding. Part summaries include project and activity ideas. Chapter lessons are presented in an Ask-Discuss-Write format and focus heavily on nonfiction literacy skill and reading comprehension concepts. In addition, each Chapter lesson includes additional activities to reinforce reading skills, vocabulary retention and differentiated instruction. Reproducible assessments, worksheets graphic organizers and rubrics are found at back.
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Work by black artists today is almost uniformly understood in terms of its "blackness," with audiences often expecting or requiring it to "represent" the race. In How to See a Work of Art in Total Darkness, Darby English shows how severely such expectations limit the scope of our knowledge about this work and how different it looks when approached on its own terms. Refusing to grant racial blackness—his metaphorical "total darkness"—primacy over his subjects' other concerns and contexts, he brings to light problems and possibilities that arise when questions of artistic priority and freedom come into contact, or even conflict, with those of cultural obligation. English examines the integrative and interdisciplinary strategies of five contemporary artists—Kara Walker, Fred Wilson, Isaac Julien, Glenn Ligon, and William Pope.L—stressing the ways in which this work at once reflects and alters our view of its informing context: the advent of postmodernity in late twentieth-century American art and culture.
The necessity for "black art" comes both from antiblack racism and resistances to it, from both segregation and efforts to imagine an autonomous domain of black culture. Yet to judge by the work of many contemporary practitioners, English writes, black art is increasingly less able—and black artists less willing—to maintain its standing as a realm apart. Through close examinations of Walker's controversial silhouettes' insubordinate reply to pictorial tradition, Wilson's and Julien's distinct approaches to institutional critique, Ligon's text paintings' struggle with modernisms, and Pope.L's vexing performance interventions, English grounds his contention that to understand this work is to displace race from its central location in our interpretation and to grant right of way to the work's historical, cultural, and aesthetic specificity.
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Scientists are famous for believing in the proven and peer-accepted, the very ground that pioneering artists often subvert; they recognize correct and incorrect where artists see only true and false. And yet in some individuals, crossover learning provides a remarkable kind of catalyst to innovation that sparks the passion, curiosity, and freedom to pursue--and to realize--challenging ideas in culture, industry, society, and research. This book is an attempt to show how innovation in the "post-Google generation" is often catalyzed by those who cross a conventional line so firmly drawn between the arts and the sciences.
David Edwards describes how contemporary creators achieve breakthroughs in the arts and sciences by developing their ideas in an intermediate zone of human creativity where neither art nor science is easily defined. These creators may innovate in culture, as in the development of new forms of music composition (through use of chaos theory), or, perhaps, through pioneering scientific investigation in the basement of the Louvre. They may innovate in research institutions, society, or industry, too. Sometimes they experiment in multiple environments, carrying a single idea to social, industrial, and cultural fruition by learning to view traditional art-science barriers as a zone of creativity that Edwards calls artscience. Through analysis of original stories of artscience innovation in France, Germany, and the United States, he argues for the development of a new cultural and educational environment, particularly relevant to today's need to innovate in increasingly complex ways, in which artists and scientists team up with cultural, industrial, social, and educational partners.
(20080202)
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The teaching guides developed for Elementary schools were created to support 5th grade American history content standards and learning frameworks. They present lesson ideas for each chapter and also groups of chapters called Parts. Part activities help to set context for reading and present overview concepts for the chapters, as well as introduce timeline and map concepts to help frame understanding. Part summaries include project and activity ideas. Chapter lessons are presented in an Ask-Discuss-Write format and focus heavily on nonfiction literacy skill and reading comprehension concepts. In addition, each Chapter lesson includes additional activities to reinforce reading skills, vocabulary retention and differentiated instruction. Reproducible assessments, worksheets graphic organizers and rubrics are found at back.
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Stretching from the close of World War I to immediately after the Depression, the Harlem Renaissance was a time of glorious artistic freedom and intellectual collaboration between black artists and white bohemians of Greenwich village. In his masterful and fascinating study of this era, Lewis takes a daring look at what was considered to be a successful utopian effort at assimilating and validating black culture in white America.
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From its origins in early eighteenth century slave communities to the end of the twentieth century, African-American art has made a vital contribution to the art of the United States. African-American Art provides a major reassessment of the subject, setting the art in the context of the African-American experience. Here, Patton discusses folk and decorative arts such as ceramics, furniture, and quilts alongside fine art, sculptures, paintings, and photography during the 1800s. She also examines the New Negro Movement of the 1920s, the era of Civil Rights and Black Nationalism during the 1960s and 70s, and the emergence of new black artists and theorists in the 1980s and 90s.
New evidence suggests different ways of looking at African-American art, confirming that it represents the culture and society from which it emerges. Here, Patton explores significant issues such as the relationship of art and politics, the influence of galleries and museums, the growth of black universities, critical theory, the impact of artists collectives, and the assortment of art practices since the 1960s. African-American Art shows that in its cultural diversity and synthesis of cultures it mirrors those in American society as a whole.
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An exploration of the key areas of language education for African Americans.