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BEGIN:VEVENT
DTSTAMP:20260510T083234Z
DTSTART;VALUE=DATE-TIME:20090219T170000
DTEND;VALUE=DATE-TIME:20090219T190000
SUMMARY:Cultural History Seminar
TZID:Europe/London
UID:20090219-094d43f61f41f254011f6f01765a77e9@warwick.ac.uk
CREATED:20090213T093940Z
DESCRIPTION:Cultural History Seminar Date: 19th February (week 7) Speaker
 : Dr Celeste-Marie Bernier (Nottingham) Title: “Struggle is a Beautiful 
 thing:” Narrative Experimentation and Visual Abstraction in Jacob Lawren
 ce’s Migration of the Negro (1941) and Elizabeth Catlett’s The Negro Wom
 an (1946-47). Abstract: The purpose of this paper is to compare and cont
 rast works by both artists to address widespread critical neglected of a
 esthetic issues within the field of African American art history. In the
  same way that early scholars of slavery prized the poems of Phyllis Whe
 atley and George Moses Horton alongside the slave narratives of Frederic
 k Douglass and Harriet Jacobs for their fidelity to fact\, numerous crit
 ics of African American art celebrate Jacob Lawrence\, Elizabeth Catlett
 \, Romare Bearden and many others as authentic creators of a black art w
 hich is not only highly identifiable as such but which exalts the sociol
 ogical over and above the aesthetically experimental in an oversimplifie
 d and potentially reductive and hand fisted commitment to realism. In th
 e light of current scholarship\, it is clear that those early critics of
  slave narratives who were so keen to celebrate what they saw as an auth
 entic narrative style which neither embellished nor detracted from the s
 implicity of their political message failed to note their complex litera
 ry devices. It is no stretch to suggest that with the exception of astut
 e critics such as Michelle Wallace\, bell hooks\, James Smalls\, Richard
  Powell and Sharon Patton\, many scholars are still asking\, “African Am
 ericans could paint then\, could they?” In this way\, many adopt narrow 
 and reductive analytical approaches to artists and their works which clo
 se down rather than open up interpretative possibilities. Critic James S
 malls despairs of current African American art criticism by protesting a
 gainst “the dearth of a viable and critical art historical and historiog
 raphical practice within the discipline.” He is not alone. Only two year
 s ago\, Floyd Coleman wrote that “African American art” is “still a new 
 frontier in American art history.” By adopting close formal analysis in 
 connection with an in-depth investigation of the aesthetic developments 
 within African American art history\, the aim of this paper is to get to
  grips with issues related to an experimental visual poetics within the 
 US black tradition.
LOCATION:R0.14
CATEGORIES:
LAST-MODIFIED:20090213T093940Z
ORGANIZER;CN=Tracy Horton:
END:VEVENT
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