Creating Their Own Image: The History of African-American Women Artists
| Author | : | |
| Rating | : | 4.83 (905 Votes) |
| Asin | : | 019516721X |
| Format Type | : | paperback |
| Number of Pages | : | 368 Pages |
| Publish Date | : | 2015-04-15 |
| Language | : | English |
DESCRIPTION:
. Most of the 150 color and 100 b&w reproductions, generally placed at the margins of the text but sized generously, are from this period, from Carol Ann Carter's installations to Laylah Ali's colorful and disturbing graphic work. Farrington is the author of two monographs on painter Faith Ringgold, and her appreciation for and mastery of recent work comes through on every page. Copyright © Reed Business Information, a division of Reed Elsevier Inc. From Publishers Weekly Although it arrives at the 1960s only a third of the way in, this first textbook on African-American women artists is brimming with discoveries. Farrington, who teaches a course (from which this book takes its name) at New York's Parsons School of Design, proceeds roughly chronologically, beginning with Reconstruction-era weaving and quilt work by artists like Kentucky's Louiza Francis Combs and with the marble sculpture of Edmonia Lewis. All r
Five Stars MooreNoLess Truly enlightening and engaging. A major slice of art history knowledge.. Four Stars Excellent resource on this specific topic. The span and perspective rank above similar books.
Creating Their Own Image marks the first comprehensive history of African-American women artists, from slavery to the present day. From utilitarian objects such as quilts and baskets to a wide array of fine arts, Creating Their Own Image serves up compelling evidence of the fundamental human need to convey one's life, one's emotions, one's experiences, on a canvas of one's own making.. Drawing on revealing interviews with numerous contemporary artists, such as Betye Saar, Faith Ringgold, Nanette Carter, Camille Billops, Xenobia Bailey, and many others, the second half of Creating Their Own Image probes more recent stylistic developments, such as abstraction, conceptualism, and post-modernism, never losing sight of the struggles and challenges that have consistently influenced this body of work. Farrington here richly details hundreds of important works--many of which deliberately challenge these same identity myths, of the carnal Jezebel, the asexual Mammy, the imperious Matriarch--in crafting a portrait of artist