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Books : Arts & Photography : Artists, A-Z : ( J-L ) : Lawrence, Jacob
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Elizabeth Catlett, born in Washington, DC, in 1915, is widely acknowledged as a major presence in African American art, and her work is celebrated as a visually eloquent expression of African American identity and pride in cultural heritage. But this is not the whole story. She has lived in Mexico for 50 years, as a citizen of that country since 1962, and she and her husband, artist Francisco Mora, have raised their children there. For 20 years she was a member of the Taller de Gráfica Popular (Popular Graphic Arts Workshop) and she was the first woman professor of sculpture at the Universidad Nacional Autónoma de México. Her extraordinary career has stretched from her years as a student at Howard University during the 1930s through various political and social movements—including the Chicago Renaissance of the 1940s, the Black Power and Black Arts movements, the Mexican Public Art Movement, and feminism—which have informed her art.This richly illustrated and informative monograph is the first to document the full range of Catlett’s life and work. In addition to thoroughly researching primary source materials and to critiquing individual art works with sensitivity and erudition, the author has conducted numerous interviews with Catlett and has analyzed with clarity the political context of her work and her diverse sympathies and allegiances. Herzog examines key artistic influences and shows how Catlett transformed an extraordinary stylistic vocabulary into a socially charged statement.
In tracing Catlett’s long and continuing career as a graphic artist and sculptor in Mexico, Herzog explores an important period in Catlett’s life between the 1950s and the 1970s about which almost nothing is known in the United States. She examines the "Mexicanness" in Catlett’s work in its fluent relationship to the underlying and constant sense of African American identity she brought with her to Mexico. Herzog’s solidly grounded interpretation offers a new way to understand Catlett’s work and reveals this artist as a fascinating and pivotal intercultural figure whose powerful art manifests her firm belief that the visual arts can play a role in the construction of a meaningful identity, both transnational and ethnically grounded.
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Beginning with his first published print in 1963, Jacob Lawrence produced a body of prints that is both highly dramatic and intensely personal. In his graphic work as in his paintings, Lawrence turned to the lessons of history and to his own experience. From depictions of civil rights confrontations to scenes of daily life, these images present a vision of a common struggle toward unity and equality, a universal struggle seated in the depths of human consciousness.
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Reproduces sixty full-color paintings, completed in 1941 by one of the most famous black artists of the twentieth century, depicting the migration of blacks from the rural South to the urban North after World War II, with scholarly commentary.
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Recently, a number of cutting edge African American artists have investigated issues of race and American identity in their work, relying on the use of historical source material and the subversion of archaic media. This scrutiny of little known, yet uncannily familiar, racialized imagery by contemporary artists has created a renewed interest in the politics of nineteenth-century American art and the role of race in the visual discourse. "Portraits of a People" looks critically at images made of and by African Americans, extending back to the late 1700s when a portrait of African-born poet Phillis Wheatley was drawn by her friend, the slave Scipio Moorhead. From the American Revolution until the Civil War and on into the Gilded Age, American artists created dynamic images of black sitters.In their effort to create enduring symbols of self-possessed identity, many of these portraits provide a window into cultural stereotypes and practices. For example, while some of these pictures were undoubtedly of distinct, named individuals, many are now known by titles that reference only generalized types, such as Joshua Johnston's painting Portrait of a Man, 1805-10, or the silhouette inscribed 'Mr. Shaw's blackman', cut around 1802 by the manumitted slave Moses Williams. By the middle of the nineteenth century, photography began to offer black sitters an affordable and accessible way to fashion an individual identity and sometimes obtain financial support, as in the case of the numerous cartes-de-visites produced during the 1860s and '70s that bear the image of the feminist activist Sojourner Truth above the text, 'I Sell the Shadow to Support the Substance'."Portraits of a People" features colour reproductions of over 100 important portraits in various media, ranging from paintings, photographs, and silhouettes to book frontispieces and popular prints. Essays by Gwendolyn DuBois Shaw consider silhouettes and African American identity in the early republic, photography and the black presence in the public sphere after the Civil War, and portrait painting and social fluidity among middle-class African American artists and sitters. This landmark publication will change the way that we view the images of blacks in the nineteenth century.
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Ideal for Any Aspiring ArtistThe Art Ed Books and Kits include: paper, non-toxic paint, oil pastels, pencils, brushes, palettes, glue—whatever the artist actually uses or used. In addition, a 24-page full-color book in each kit provides a biography of the artist and discusses his or her life and career, with full-color art reproductions as well as photographs of the artist in the studio. And, an 8-page activity book provides easy-to-follow, step-by-step instructions to help children create their own masterpieces.
Each kit is approved by the individual artist or his/her estate.
With Art Ed Books and Kits, children not only learn about great artists, they can learn to paint like them, too. Art Ed is the ideal kit for any aspiring artist!
A portion of the proceeds from Art Ed Books and Kits benefits Studio in A School.
Each kit: Art supplies, 24-page full-color book, 8-page activity book, fold-out frame.
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Vital signs, the pulses and patterns of the body, are indicators of essential life functions. The powerful work of Joe Feddersen reveals, like "vital signs" themselves, the state of the human condition from the vantage point of a contemporary artist who has inherited an ancient aesthetic tradition.Arising from Plateau Indian iconographic interpretations of the human-environment relationship, Feddersen's prints, weavings, and glass sculptures explore the interrelationships between contemporary urban place markers and indigenous design. Following in the footsteps of his Plateau Indian ancestors who "spoke to the land in the patterns of the baskets," Feddersen interprets the urbanscapes and the landscapes surrounding him and transforms those rhythms into art forms that are both coolly modern and warmly expressionistic.
Joe Feddersen was born in 1953, in Omak, Washington, just off the Colville Indian Reservation. His mother was Okanogan and Lakes from Penticton, Canada; his father was the son of German immigrants. He has been a member of the art faculty at Evergreen State College in Olympia, Washington, since 1989.
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Twenty-three new paintings by Alfredo Arreguin are included in the second edition of the highly regarded book first published in 2002.
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I have consistently turned to printmaking when I needed a fresh direction or a recharge of my creative batteries.--Roger Shimomura Best known as a painter and theater artist, Roger Simomura explores his Japanese American identity through a vibrant and provocative stylistic combination of twentieth-century American pop art and traditional eighteenth- and nineteenth-century Japanese woodblock prints. In his printed works, one discovers a number of firsts, among them the artist's first examination of place; his first attempt to combat stereotypes by appropriating racist caricatures; and his first use of explicitly sexual imagery. This catalogue raisonné is also a first. Featuring color reproductions of all the artist's 122 extant prints to date, along with notes by Shimomura about the creative and personal history behind particular images, this is the first publication to systematically examine a specific body of work within Shimomura's larger oeuvre. It is also the first to begin critically examining the importance of the Midwest to his work. A native of Seattle, Shimomura completed his MFA. at Syracuse University in New York, and then accepted a teaching position at the University of Kansas. Now retired, Shimomura still lives in Lawrence and remains engaged with the university. He has also made its Spencer Museum of Art the repository for his prints. Emily Stamey's introductory essay melds a chronological narrative of Shimomura's printmaking career with insightful analyses of both specific images and the broader conceptual role of prints within his work. She traces the artist's stylistic trajectory from his first Andy Warhol inspired screen prints, made in the bathroom of his graduate student apartment in the late 1960s, to his most recent suite produced with master printer Michael Sims at the Lawrence Lithography Workshop. Within this narrative, Stamey examines the ways in which Shimomura's prints relate to and stand apart from his paintings and theater performances.
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Over the Line: The Art and Life of Jacob Lawrence includes essays by eight distinguished art historians examining the ways in which Jacob Lawrence's art speaks so powerfully to different audiences. It is the first multi-author, in-depth probe of the artist's entire career: the nature of his work, his education, the critical climate in which he worked, and his use of materials and techniques. It reproduces, in full color, more than 200 works, most of which have not been published in color, or at all, in other books on the artist. An extensive chronology, collating events in his life with his public reception--including selected exhibitions, publications, honors, and awards--is illustrated with family photographs.Jacob Lawrence (1917-2000) spent his childhood in New York City, attending classes at the Harlem Community Art Center and the American Artists School, and later working for the Federal Art Project. While still in his twenties Lawrence exhibited his paintings at major museums across the country, including the Phillips Collection, the Metropolitan Museum of Art, the Art Institute of Chicago, and the Museum of Modern Art in New York, where he became the first African American artist represented in the permanent collection. He lived, painted, and taught in New York City until 1971, when he moved to Seattle to join the faculty of the University of Washington. He was the recipient of numerous awards including the National Medal of Arts.
The paperback edition of Over the Line is published in conjunction with a major exhibition opening at the Phillips Collection, Washington, DC, on May 26, 2001, and traveling to the Whitney Museum of American Art, the Detroit Institute of Arts, the Los Angeles County Museum of Art, and the Museum of Fine Arts, Houston.
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One of America s most acclaimed artists, Jacob Lawrence (1917 2000) worked primarily in gouache and tempera, constructing scenes from flat planes of color. Favorite subject matter included Harlem street scenes and African American history. This calendar presents a dozen of Lawrence s finest works, including The Barefoot Prophet of Harlem, Artist with Tools, The Constitution Was Prepared . . . , and All Hallow s Eve.
Published with DC Moore Gallery, New York. Size: 12 x 13 in.; opens to 12 x 26 in.
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One of the most prominent American painters of the twentieth century, Jacob Lawrence (1917-2000) worked in a highly personal manner, creating Modernist views of everyday life as well as epic narratives of American history and historical figures. His work is direct and forceful, in keeping with his lifelong conviction that art could effect social change. At the same time, it is essentially humanistic, exploring the many challenges of African-American life as a means of addressing the universality of the human experience. Jacob Lawrence: Moving Forward, Paintings 1936-1999 celebrates the artist's long and productive career spanning more than 60 years. Beginning with lively street scenes of 1930s Harlem, when the young painter was establishing his artistic viewpoint, it highlights important examples from every decade of his working life, including a tribute to Jackie Robinson--the first African-American to play in the major leagues--and the powerful Hiroshima series, done for a reissue of John Hersey's well-known book on the horrific event. This survey concludes with some of Lawrence's final narratives of labor and leisure in his Builders and Games series of the 1990s. In addition to 58 images of the artist's work, this volume features an appreciation by David C. Driskell, noted artist, curator and art historian, who was a friend of Lawrence's for many decades, and an insightful overview of Lawrence's life and art by Patricia Hills, the distinguished scholar of American art.
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This volume presents a selection of paintings, poetry, essays, and ephemeral writings by the Chinese American modernist Yun Gee (1906–1963), together with essays about the artist.Yun Gee arrived in San Francisco from Guangdong Province at the age of fifteen and within a few years established himself as one of the city’s most daring avant-garde painters. But all of his astonishing efforts with the brush and palette ran up against an intense anti-Chinese sentiment. He seemed never to escape the high social price of being Chinese—not in San Francisco, Paris, or New York, where he ended his days. This collection of writings and images represents the eclectic interests and disappointed hopes of a man who was by turns a political revolutionary, cultural radical, social visionary, teacher, inventor, painter, and poet.
As a unique collection of materials documenting the expressions of an Asian American artist of the first half of the 20th century, this book illuminates not only the life and work of the multifaceted Yun Gee, but also the experiences of Chinese immigrants who came of age in America during the Exclusion Era. Anthony Lee’s essays and the materials he has gathered here reveal the utopianism, anger, and anxiety that were the traces of an entire generation’s racialized existence.
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This digital document is an article from Arts & Activities, published by Publishers' Development Corporation on February 1, 2001. The length of the article is 834 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Jacob Lawrence's THE GREAT MIGRATION.(Brief Article)
Author: Alecia Hodges
Publication: Arts & Activities (Magazine/Journal)
Date: February 1, 2001
Publisher: Publishers' Development Corporation
Volume: 129 Issue: 1 Page: 36
Article Type: Brief Article
Distributed by Thomson Gale
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