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Making race : modernism and "racial art" in America

Autor: Jacqueline Francis
Editora: Seattle : University of Washington Press, ©2012.
Edição/Formato   Livro : Publicação de governo estadual ou província : InglêsVer todas as edições e formatos
Base de Dados:WorldCat
Resumo:
"Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a
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Detalhes

Gênero/Forma: Criticism, interpretation, etc
History
Pessoa Denominada: Malvin Gray Johnson; Yasuo Kuniyoshi; Max Weber; Malvin Gray Johnson; Yasuo Kuniyoshi; Max Weber; Malvin Gray Johnson; Yasuo Kuniyoshi; Max Weber
Tipo de Material: Publicação do governo, Publicação de governo estadual ou província, Recurso Internet
Tipo de Documento: Livro, Recurso Internet
Todos os Autores / Contribuintes: Jacqueline Francis
ISBN: 9780295991450 0295991453
Número OCLC: 713189786
Notas: "A McLellan book."
Descrição: xiv, 250 pages : illustrations (some color) ; 23 cm
Conteúdos: Introduction --
The meanings of modernism --
Making race in American religious painting --
Type/face/mask: racial portraiture --
The race of landscape --
Conclusion.
Responsabilidade: Jacqueline Francis.
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Resumo:

A history of a past phenomenon - racial art - which has ramifications for the present  Ler mais...

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"Francis's subject is not only these three artists, but encompasses as well broader issues of how social identities are constructed at particular historical moments and the complex relationships Ler mais...

 
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schema:description""Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher."@en
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