This guide will help you find books and other materials at the San Francisco Public Library related to the topic of the African American art and artists. This bibliography was created in conjunction with MoAD (Museum of African Diaspora) for the exhibit Decoding Identity I Do It For My People. If you need further help finding materials, be sure to ask the library staff for guidance. Materials can be found throughout the SFPL’s 27 branches as well as at the Main Library. You will especially want to check out the African American Center on the third floor of the Main Library as well as the Bayview Branch Library.
With the formation of this bibliography, there has been an attempt to “decode identity” in its many guises as seen through the eyes of artists, and It is not meant to be an exhaustive look at art and identity just a general overview on the topic. Although the bibliography does have a focus on African American art and artists and how identity is visited by and imparted through their art and artistic forms, a concerted effort was also made to explore the world of art and identity in a general and historic way and through the lenses of different cultures.
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"Contemporary art is sex ... it's all about sex", Waters tells us in the books introduction. in the book he and co-author Hainley have selected and carefully arranged a wide range of work, from startling graphic depictions of the body and sexual acts to abstract images suggesting the erotic. This remarkable and original book will appeal to anyone interested in exploring the place of sex within contemporary society and discovering how it continues to inspire and provoke our leading artists.
Packed with full-page color illustrations, this eye-opening collection features a diverse group of 11 contemporary artists who work both inside and outside the church. They present the gay Jesus, the woman Christ, and other cutting-edge Christian images.
This book is a photographic exploration into the experience of gender across cultures, nations and generations. Photographer, Rebecca Swan, has photographed and interviewed 25 people around the world about their experience of gender.
In February 2006, San Francisco State University's College of Creative Arts hosted an exhibition of contemporary Scandinavian art dealing with themes of gender and sexuality. This catalog showcases images from the photography, video, and film of the four artists who participated: Eija-Liisa Ahtila, Jesper Just, Annika Larsson, and Annica Karlsson Rixon.
Black Book is what some might call a biased journey across the landscape of the black male body, highlighting its stereotyped and ingrained sexuality, diverseness, physical appeal and humanity. These photographs constitute a stunning celebration of the contemporary black male as seen through the eyes of Robert Mapplethorpe a white admirer.
Black Male is the catalog for what was a major and somewhat controversial exhibition at the Whitney Museum of American Art. In her introductory essay, curator Golden explains that she used "five historic signposts" to guide her study of the evolution of images of African American men in the years following the civil rights movement. Golden and her contributors, including Henry Louis Gates Jr., and Bell Hooks, discuss the irony and danger of stereotypes; the implications of various perceptions of black masculinity. The artworks themselves include paintings, photographs, sculptures, and movie stills by such artists as Jean-Michel Basquiat, Leon Golub, Spike Lee, Robert Mapplethorpe, Gordon Parks, Alison Saar, and Lorna Simpson. While this catalog is long on commentary and short on art, it is, without a doubt, stimulating and important.
The late gay Nigerian photographer's piercing exploration of the location of desire and forbidden dreams within the context of different needs.
Illustrated throughout in stunning full-color images, this catalogue is the companion to an exhibition of the same name held in 2008-2009 at the Hood Museum of Art. By incorporating critical essays from contributors ranging from poets to professors, this book rises above the average exhibition catalogue into a serious academic endeavor, suitable for scholars and the general public alike.
Polk (world arts & culture, UCLA) has assembled a collection of essays and images, focusing on the altars, shrines, and other religious imagery.
For twenty years, Carrie Mae Weems has made powerful artwork--often with a fiercely ironic sensibility--from complex social observations. In "The Hampton Project", she knits her concerns about individual identity, class, assimilation, education, and the legacy of slavery into a series of photographic banners that force viewers to reassess their own moral and ethical boundaries, as well as the political and socioeconomic realities of twentieth-century America.
In the early 1990s, a major exhibition--Chicano Art: Resistance and Affirmation, 1965-1985--toured major museums around the United States. As a first attempt to define and represent Chicano/a art for a national audience, while raising fundamental questions about the nature of multiculturalism in the U.S. This book presents the first interdisciplinary cultural study of the CARA exhibit. This book presents the first interdisciplinary cultural study of the CARA exhibit.
Harris investigates the role of visual representation in the construction of African American identities, focusing particularly on how black artists have responded to--and even used--stereotypical images.
Robert Farris Thompson, Professor of the History of African and African-American Art at Yale University, has been working on this study of African-Atlantic altars for twenty-five years. Face of the Gods is based on fieldwork in both Africa and the Americas - in Mali, Ghana, Benin, Nigeria, Zaire, the Central African Republic, Angola, Zimbabwe, and South Africa, on the eastern part of the Atlantic, and in Cuba, Haiti, Puerto Rico, Suriname, the United States, Brazil, and Argentina, on the western.
In Our Own Image defines the black male identity as seen through the lenses of several different photographers.
An early 90’s look at the black male couple and identity through the eyes and pen of black contemporary artists.
The Other Hogarth, although not dealing with contemporary art, gives a good sense of how historically at least one artist represented identity though his work. William Hogarth (1697-1764), took as one of his central artistic themes the staging of otherness and difference. In a groundbreaking book, a group of international art historians and cultural theorists investigates this major yet overlooked dimension of Hogarth's art and aesthetics. They show that, whether Hogarth depicts a harlot or a wealthy patroness, a gouty earl or a dissolute rake, a black servant or an effeminate parasite, issues of class, gender, and race reverberate throughout his paintings and prints and deeply inform his unique innovation, the Modern Moral Subject.
The Other Side is her very personal declaration of love and gratitude to these drag queens, who showed her a way out of the captivity of pre-packaged, socially prescribed identity. As she put it: "The pictures in this book are not of people suffering gender dysphoria but rather expressing gender euphoria...."
This innovative study examines the efforts of Harlem Renaissance artists and writers to create a hybrid expression of black identity that drew on their ancient past while participating in contemporary American culture.
One of the most significant developments in the art world of the 1970s, 1980s, and 1990s has been the rise to prominence of art made by minority cultures. Race, Sex, and Gender examines the controversial challenges these groups present to today's artists and critics. Works by African-Americans, feminists, homosexuals, and Latino-Hispanics - once considered marginal - have come to transform contemporary art.
This novel anthology explores the historic boundaries between "high" (elite) art and other media traditionally defined as "low" by presenting thirteen case studies on visual culture's engagement with social controversies throughout American history.
The essays in Skin Deep, Spirit Strong: The Black Female Body in American Culture chart the ways that the simultaneous interrogation of gender, race, and corporeality shape the construction of black female representation. Kimberly Wallace-Sanders has enlisted a wide variety of scholarly perspectives and critical approaches about the place of black women's bodies within the American cultural consciousness. An impressive gathering of essays and visual art by feminist scholars and artists, the book presents a persuasive argument for broadening the ongoing scholarly conversations about the body.
Catalog of an exhibition displayed at the Institute of Contemporary Art at Maine College of Art (ICA at MECA), Portland, Maine, July 26-October 17, 2002, and at three other venues through February 2004.
Kente is not only the best known of all African textiles, it is also one of the most admired of all fabrics worldwide. In Wrapped in Pride, seven distinguished scholars present an exhaustive examination of the history of kente from its earliest use in Ghana to its present-day impact in the African Diaspora.
Artists to be aware of:
For more information on any subject listed here, check the San Francisco Public Library Catalog for the following subjects or ask a librarian for further research help.
This bibliography on African American Artist was put together by the San Francisco Public Library, African American Center for the opening of the exhibition Decoding Identity: I Do it for My People from January 23, 2009 – March 8, 2009 at the Museum of the African Diaspora, 685 Mission Street, SF, CA 94105, www.moadsf.org. This bibliography is part of a collaboration between SFPL and MoAD that encourages further education and reading on topics pertaining to the African American art and artists.