Visual Cultures

2017 ◽  
Author(s):  
Ira Dworkin
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Visual Culture ◽  
Significant Influence ◽  
Art Museum ◽  
Cultural Practice ◽  
Visual Artists ◽  
Color Palette ◽  
Visual Cultures

This chapter considers the significant influence of William Sheppard on U.S. visual culture. In 1890, soon after he arrived in the Congo, he expresses his intent to collect Congolese artifacts, mostly Bakuba, for Hampton’s “Curiosity Room,” which was the basis for its renowned art museum. In the early 1940s after Viktor Lowenfeld established the Hampton art department, John Biggers, Samella Lewis, Elizabeth Catlett, Charles White, and other artists, who were students or teachers there, studied Sheppard’s textile collection. In particular, the color palette and geometry found in Biggers’s work recall both African American quilts and Bakuba textiles, indicating that, beyond political topics, Sheppard’s influence includes a wide aesthetic vocabulary. Twentieth-century African American visual artists developed an innovative cultural practice based on their immersion in a collection whose provenance links it to the movement for reform in the Congo.

scholarly journals Introduction to the symposium: Ivan Vladislavić, writing visual culture, and the globalization of a South African “artworld”

2017 ◽  
Vol 52 (1) ◽  
pp. 3-10 ◽  
Author(s):  
Katie Reid ◽  
James Graham
Keyword(s):  
Visual Culture ◽  
South African ◽  
Critical Role ◽  
The Other ◽  
Art World ◽  
Visual Artists ◽  
Unique Form ◽  
Ivan Vladislavic ◽  
Exploded View ◽  
Visual Cultures

The introduction to this symposium considers South African author and editor Ivan Vladislavić’s engagement with South African visual culture and the significance of this to his emergence as a “world writer”. The symposium opens with an article by Sean O’Toole, which provides a comprehensive biographical context for Vladislavić’s engagement with art and proposes that his oeuvre be understood as a unique form of “creative criticism”. In their articles, Sue Marais and Jane Poyner offer close readings that draw out the critical role played by the visual cultures of the rarefied art world and everyday life, respectively, in two key texts where this creative criticism is in evidence: “Curiouser” from The Exploded View (2004) and Portrait with Keys (2006). James Graham’s article examines the nature and outcomes of Vladislavić’s work with other writers and visual artists as an editor, providing a theoretical framework that connects the biographical and formal concerns of the other articles by illustrating the cooperative ethos that undergirds Vladislavić’s critical and creative engagement with visual culture. The symposium therefore illustrates Vladislavić’s critical role in the negotiation of globalized artistic and literary fields, and in the constellation of a South African “artworld”.

Trey Ellis's Platitudes: Redefining Black Voices

2009 ◽  
Vol 32 (1) ◽  
pp. 55-76
Author(s):  
Quan Manh Ha
Keyword(s):  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
African American Literature ◽  
Black Experience ◽  
Racial Issues ◽  
Black Voices ◽  
Late Twentieth ◽  
One Year ◽  
Late Twentieth Century

Trey Ellis has emerged as a prominent African American writer of the late-twentieth century, despite the small number of his published works. “The New Black Aesthetic,” an essay that he first published in CaUaloo in 1989, one year after the publication of his first novel, Platitudes, stands as a manifesto that defines and articulates his perspective on the emerging black literary voices and culture of the time, and on “the future of African American artistic expression” in the postmodern era.1 According to Eric Lott, Ellis's novel parodies the literary and cultural conflict between such male experimental writers as lshmael Reed and such female realist writers as Alice Walker.2 Thus, Ellis's primary purpose in writing Platitudes is to redefine how African Americans should be represented in fiction, implying that neither of the dominant approaches can completely articulate late-twentieth-century black experience when practiced in isolation. In its final passages, Platitudes represents a synthesis of the two literary modes or styles, and it embodies quite fully the diversity of black cultural identities at the end of the twentieth century as it extends African American literature beyond racial issues. In this way, the novel exemplifies the literary agenda that Ellis suggests in his theoretical essay.

Fixing Improvisation

2014 ◽  
Author(s):  
Anthea Kraut
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Intellectual Property ◽  
Case Studies ◽  
Copyright Law ◽  
Property Law ◽  
Intellectual Property Law ◽  
Tap Dance ◽  
American Vernacular ◽  
The Relationship

This chapter juxtaposes brief case studies of African American vernacular dancers from the first half of the twentieth century in order to reexamine the relationship between the ideology of intellectual property law and the traditions of jazz and tap dance, which rely heavily on improvisation. The examples of the blackface performer Johnny Hudgins, who claimed a copyright in his pantomime routine in the 1920s, and of Fred and Sledge, the class-act dance duo featured in the hit 1948 musical Kiss Me, Kate, whose choreography was copyrighted by the white modern dancer Hanya Holm, prompt a rethinking of the assumed opposition between the originality and fixity requirements of copyright law and the improvisatory ethos of jazz and tap dance. Ultimately, the chapter argues that whether claiming or disavowing uniqueness, embracing or resisting documentation, African American vernacular dancers were both advantaged and hampered by copyright law.

scholarly journals The Decline of Religious Life in the Twentieth Century

Religions ◽  
2021 ◽  
Vol 12 (6) ◽  
pp. 388
Author(s):  
Anton Lingier ◽  
Wim Vandewiele
Keyword(s):  
Twentieth Century ◽  
Significant Influence ◽  
Religious Life ◽  
The West ◽  
Potential Reason ◽  
First Category ◽  
Cyclical Pattern

The decline in numbers of religious in the West is discussed in numerous studies. While there is a consensus about the statistical reality of decreasing numbers, scholars disagree about the alleged reasons for this decline. This article maps the field and presents a survey of four categories of answers to the question of why religious life declined during the twentieth century. A distinction is made between theories that ascribe the decline to (1) historical, (2) societal, (3) ecclesial, and (4) theological reasons. The first category views the decline as part of a historical-cyclical pattern of growth and decline. The second encompasses explanations that focus on secularization, professionalization, or new societal opportunities for women. Thirdly, post-conciliar church-organizational reasons will be discussed. Finally, pre-conciliar theology is investigated as a potential reason for the decline. While none of the reasons discussed here can be excluded from at least contributing to the decline, we demonstrate that some authors are mistaken in their conclusions due to misinterpreting data in a way that obscures the possibility of an emerging decline before the statistics peak in 1965 (which marks the end of the Council). We also demonstrate how theology has been an underestimated but significant influence on the statistics of religious life.

The Business Life of Emmett Jay Scott

2003 ◽  
Vol 77 (4) ◽  
pp. 667-686 ◽  
Author(s):  
Maceo Crenshaw Dailey
Keyword(s):  
Twentieth Century ◽  
African American ◽  
Insurance Company ◽  
Clearing House ◽  
Howard University ◽  
Black Entrepreneurs ◽  
Trading Firm ◽  
Black Township

Emmett Jay Scott was private secretary to Booker T. Washington and later became secretary treasurer of Howard University. He was involved in numerous business activities, ranging from the establishment of the National Negro Business League to the founding of an investment clearing-house, an insurance company, and an overseas trading firm. Scott also promoted the black township of Mound Bayou and backed African American entertainment enterprises. His business activities were largely unheralded, and the frustrations he encountered illustrate both the obstacles and the opportunities for black entrepreneurs in the first half of the twentieth century.

"Us" vs. "Them". Communist Dialectical Images from Interwar Europe and Soviet Russia

2021 ◽  
Author(s):  
Adri Kácsor
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Visual Culture ◽  
Upper Class ◽  
Avant Garde ◽  
Political Propaganda ◽  
Political Transformations ◽  
The Rich ◽  
Soviet Russia ◽  
Interwar Europe

Brawny male workers vs. bulging bourgeois men. Working-class mothers burdened by the hardship of poverty and childcare vs. elegant upper-class women enjoying a lifestyle of privilege. Such juxtaposed images of workers and the rich were prevalent in the visual culture of communism throughout the twentieth century, appearing on posters, illustrations, and other genres of political propaganda across countries and continents. Although these didactic propaganda images have rarely been considered in histories of modernism and the avant-garde, this article argues that they were among the key visual inventions of twentieth-century communist visual culture given their highly innovative aesthetics and juxtaposed structure that provided them a potential to become dialectical. Drawing on examples from interwar Europe and Soviet Russia, this article examines how didactic juxtapositions could become dialectical images, triggering political transformations while also making revolutionary class consciousness visible for the viewer.

When Pushkin's Blackness Was in Vogue: Rediscovering the Racialization of Russia's Preeminent Poet and His Descendants

Slavic Review ◽  
2021 ◽  
Vol 80 (2) ◽  
pp. 245-257
Author(s):  
Korey Garibaldi ◽  
Emily Wang
Keyword(s):  
United States ◽  
Twentieth Century ◽  
African American ◽  
American Literature ◽  
Henry James ◽  
African American Literature ◽  
The United States ◽  
African Heritage ◽  
Queen Of Spades ◽  
Racially Ambiguous

This essay investigates interconnections between the novelist, Henry James, Ivan Turgenev, and Aleksandr Pushkin and identifies the racial subtext of these associations. Several scholars have connected Pushkin and James. But none of this scholarship has speculated on whether it was the poet's African heritage that was at the root of hidden connections between these authors. Moreover, though most scholarship on Pushkin's reception in the United States focuses on twentieth-century African American literature, his African heritage was publicized much earlier. In fact, nineteenth-century commentators on both sides of the Atlantic frequently discussed Pushkin's racial heritage as a canonical European writer of African descent. This essay recovers how Henry James used Pushkin's daughter, the morganatic Countess Merenberg, as a model for the racially ambiguous “morganatic” Baroness Münster in The Europeans (1878). A decade later, James seems to have invoked the Countess Merenberg once more in his rewriting of Pushkin's “The Queen of Spades” (1833) in The Aspern Papers (1888). While James publicly attributed Byron and Shelley as inspirations, the discourse surrounding the African heritage of Pushkin and his heirs helps explain why the novelist minimized and erased the racial lineage at the center of The Europeans and The Aspern Papers.

Black “Crime,” Public Hysteria, and the Cinema of Containment: Black Cinema Aesthetics from Willie Dynamite to The Interrupters and a/k/a Mrs. George Gilbert

2021 ◽  
Vol 5 (1) ◽  
Author(s):  
Amy Abugo Ongiri
Keyword(s):  
African American ◽  
Visual Culture ◽  
Jim Crow ◽  
Mass Incarceration ◽  
Current Situation ◽  
Black Cinema ◽  
Black Subjectivity ◽  
Political Organizing

This essay will explore the ways in which African American visual culture has attempted to negotiate criminalization and the current situation of what Richard Iton rightfully characterizes as “hyperincarceration.” It will explore the ways in which contemporary African American visual culture is engaged in negotiating between the literal material realities and consequences of mass incarceration and aesthetic constructions of violence. While mass incarceration is increasingly becoming understood as “the New Jim Crow” for African American political organizing, Black criminality has become the key lens through which questions of masculinity, class exclusion, gender, and selfhood get negotiated in African American visual culture. This essay will argue that the “subtext of ongoing Black captivity” is the pretext for much of what drives Black action genres and African American representation in general as a key signifier of a racialized identity and as an indicator of a Black subjectivity fraught with complexities of non-belonging.

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