Search results for ""Author Howard"

Cinema Remixed and Reloaded is a daring, bold, innovative look at black women artists and video art. This historical survey examines an intriguing and unbounded scope of work, including experimental film, projections, and installations. Creative projects by established artists who became interested in time-based media several decades ago, such as Camille Billops, Barbara McCullough, Howardena Pindell, and Adrian Piper, are presented alongside such midcareer artists as Berni Searle, Lorna Simpson, Kara Walker, and Carrie Mae Weems, who continually garner international acclaim. Works by emerging artists, including Elizabeth Axtman, Debra Edgerton, Lauren Kelley, Jessica Ann Peavy, Pamela Sunstrum, and Lauren Woods, are also featured. While exploring personal experiences and dissecting popular visual culture, the artists in Cinema Remixed and Reloaded provide relevant views on several important topics--memory, loss, alienation, racial politics, gender inequities, empowerment, and the pursuit of power.

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A window into the world of 1970s painting through the work of 30 women artists Published to follow the landmark exhibition at Karma Gallery, New York, this catalog unites the works of 30 women painters who were active in New York City during the 1970s. The collection showcases the diverse practices and backgrounds of these artists, all of whom were deeply influenced by the transformative legacy of second-wave feminism. During this period, a new form of painting emerged, fusing elements of sculpture and textile into the medium while reevaluating its role through innovative art historical methodologies. Amid debates about the relevance of painting, women artists revitalized the practice, coinciding with a shifting political landscape characterized by the global revolt of women against their marginalized status. Artists include: Emma Amos, Ida Applebroog, Jennifer Bartlett, Betty Blayton, Vivian Browne, Cynthia Carlson, Martha Diamond, Louise Fishman, Suzan Frecon, Nancy Graves, Cynthia Hawkins, Mary Heilmann, Virginia Jaramillo, Jane Kaplowitz, Harriet Korman, Lois Lane, Helen Marden, Dindga McCannon, Ree Morton, Elizabeth Murray, Ellen Phelan, Howardena Pindell, Sylvia Plimack Mangold, Faith Ringgold, Dorothea Rockburne, Susan Rothenberg, Joan Semmel, Jenny Snider, Joan Snyder, Pat Steir.

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A tribute to the impressive roster of women artists who have graduated from Yale University Celebrating the 150th anniversary of the first women students at Yale, who came to study at the Yale School of the Fine Arts (now Yale School of Art) when it opened in 1869, and the 50th anniversary of undergraduate coeducation at the University, this volume honors the accomplishments of women artist-graduates of Yale. More than 80 artists—including Rina Banerjee, Janet Fish, Audrey Flack, Eva Hesse, Maya Lin, Howardena Pindell, Sylvia Plimack Mangold, and Mickalene Thomas—are represented with works drawn exclusively from the Yale University Art Gallery. Essays and timelines detail related milestones such as the appointment of art historian Anne Coffin Hanson as the first woman to be hired as a full, tenured professor on campus and Mimi Gardner Gates as the first female director of the Gallery. Amid the rise of feminist movements—from women’s suffrage to the #MeToo movement of today—this book asserts the crucial role women have played in pushing creative boundaries at Yale, and in the art world at large. Distributed for the Yale University Art GalleryExhibition Schedule:Yale University Art Gallery (September 10, 2021–January 9, 2022)

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The definitive account of Lucy Lippard’s pioneering 1971 feminist art exhibition, with work from a new generation of artists alongside the original participants This volume celebrates the 51st anniversary of the historic 1971 exhibition Twenty Six Contemporary Women Artists, curated by Lucy R. Lippard and presented at the Aldrich Contemporary Art Museum. It showcases work by the artists included in the original 1971 exhibition, alongside a new roster of 26 female-identifying or nonbinary emerging artists, tracking the evolution of feminist art practices over the past five decades. This significant volume includes new essays by Lippard, Amy Smith-Stewart and Alexandra Schwartz, as well as rare historical documentation of the original exhibition, images, installation views and checklists from both the 1971 and 2022 shows. Among the artists whose work was presented in the original 1971 exhibition are Cecile Abish, Alice Aycock, Cynthia Carlson, Susan Hall, Mary Heilmann, Audrey Hemenway, Laurace James, Mablen Jones, Carol Kinne, Christine Kozlov, Brenda Miller, Mary Miss, Dona Nelson, Shirley Pettibone, Howardena Pindell, Adrian Piper, Sylvia Plimack Mangold, Reeva Potoff, Paula Tavins, Merrill Wagner, Grace Bakst Wapner, Jackie Winsor and Barbara Zucker. (All but three of the original 26 artists are included in 52 Artists.) The new generation of artists included are Leilah Babirye, Phoebe Berglund, LaKela Brown, Lea Cetera, Susan Chen, Pamela Council, Lizania Cruz, Amaryllis DeJesus Moleski, Florencia Escudero, Alanna Fields, Emilie L. Gossiaux, Ilana Harris-Babou, Loie Hollowell, Maryam Hoseini, Hannah Levy, Catalina Ouyang, Anna Park, Erin M. Riley, LJ Roberts, Aya Rodriguez-Izumi, Aliza Shvarts, Astrid Terrazas, Tourmaline, Rachel Eulena Williams, Kiyan Williams and Stella Zhong.

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A revelatory uncovering of a vanished agricultural way of life by bestselling nature writer Sally Coulthard. 'A gem of a book' Country Smallholding 'Engaging and filled with gentle humour and fascinating facts' Get History 'Shows us the beauty and rich history of everyday things' Country Walking Magazine Across the foldyard from Sally Coulthard's North Yorkshire farmhouse, stands an old stone barn. When she discovered a set of witches' marks on one of its internal walls, she began to wonder about the lives of the people who had once lived and worked there. Both the intimate story of a building and its hinterland, and a wider social history, The Barn explores a hidden corner of rural Britain that has witnessed remarkable changes. From the eighteenth-century Enclosures to the Second World War, the fortunes of the Barn have been blown, like a leaf in a gale, by the unstoppable forces of new agriculture and industry. Seismic shifts in almost every area of society were all played out here in miniature – against a backdrop of scattered limestone villages and the softly rolling Howardian Hills.

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A colossal, panoramic, much-needed appraisal of the visual cultures of Afro-Atlantic territories across six centuries Named one of the best books of 2021 by Artforum Afro-Atlantic Histories brings together a selection of more than 400 works and documents by more than 200 artists from the 16th to the 21st centuries that express and analyze the ebbs and flows between Africa, the Americas, the Caribbean and Europe. The book is motivated by the desire and need to draw parallels, frictions and dialogues around the visual cultures of Afro-Atlantic territories—their experiences, creations, worshiping and philosophy. The so-called Black Atlantic, to use the term coined by Paul Gilroy, is geography lacking precise borders, a fluid field where African experiences invade and occupy other nations, territories and cultures. The plural and polyphonic quality of “histórias” is also of note; unlike the English “histories,” the word in Portuguese carries a double meaning that encompasses both fiction and nonfiction, personal, political, economic and cultural, as well as mythological narratives. The book features more than 400 works from Africa, the Americas and the Caribbean, as well as Europe, from the 16th to the 21st century. These are organized in eight thematic groupings: Maps and Margins; Emancipations; Everyday Lives; Rites and Rhythms; Routes and Trances; Portraits; Afro Atlantic Modernisms; Resistances and Activism. Artists include: Nina Chanel Abney, Emma Amos, Benny Andrews, Emanoel Araujo, Maria Auxiliadora, Romare Bearden, John Biggers, Paul Cézanne, Victoria Santa Cruz, Beauford Delaney, Aaron Douglas, Melvin Edwards, Ibrahim El-Salahi, Ben Enwonwu, Ellen Gallagher, Theodore Géricault, Barkley Hendricks, William Henry Jones, Loïs Mailou Jones, Titus Kaphar, Wifredo Lam, Norman Lewis, Ibrahim Mahama, Edna Manley, Archibald Motley, Abdias Nascimento, Gilberto de la Nuez, Toyin Ojih Odutola, Dalton Paula, Rosana Paulino, Howardena Pindell, Heitor dos Prazeres, Joshua Reynolds, Faith Ringgold, Gerard Sekoto, Alma Thomas, Hank Willis Thomas, Rubem Valentim, Kara Walker and Lynette Yiadom-Boakye.

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A revelatory uncovering of a vanished agricultural way of life by bestselling nature writer Sally Coulthard. 'A gem of a book' Country Smallholding 'Engaging and filled with gentle humour and fascinating facts' Get History 'Shows us the beauty and rich history of everyday things' Country Walking Magazine Across the foldyard from Sally Coulthard's North Yorkshire farmhouse, stands an old stone barn. When she discovered a set of witches' marks on one of its internal walls, she began to wonder about the lives of the people who had once lived and worked there. Both the intimate story of a building and its hinterland, and a wider social history, The Barn explores a hidden corner of rural Britain that has witnessed remarkable changes. From the eighteenth-century Enclosures to the Second World War, the fortunes of the Barn have been blown, like a leaf in a gale, by the unstoppable forces of new agriculture and industry. Seismic shifts in almost every area of society were all played out here in miniature – against a backdrop of scattered limestone villages and the softly rolling Howardian Hills.

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A fresh perspective on collaboration, collectivity, and conflict in the women’s art movement of the 1970s Women Artists Together is a thought-provoking study of how the women’s liberation movement galvanized a generation of women artists. It offers a fresh perspective on the history of the women’s art movement and considers how it was shaped by collaboration and togetherness. Retracing 1970s liberation politics, Amy Tobin emphasizes how artworks emerged from—and contested—feminist paradigms and contexts. Taking class, gender, race, and sexuality as central concerns, the book includes examples of inspirational feminist activism as well as fallings out, disagreements, and antagonism. Across four chapters, Tobin looks at the work of UK- and US-based artists including Judy Chicago, Mary Beth Edelson, Rose English, Harmony Hammond, Candace Hill-Montgomery, Claudette Johnson, Suzanne Lacy, Howardena Pindell, Ingrid Pollard, Carolee Schneemann, Cecilia Vicuña, and Kate Walker. Groups include the Feminist Art Programme at Cal Arts, Women’s Workshop of the Artists’ Union, Where We At, Black Women Artists Inc., and the South London Art Group, publications such as Heresies and Chrysalis, along with writers and curators including Lucy R. Lippard and Arlene Raven.

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An engaging introduction to contemporary Black American collage brings together art by fifty artists that reflects the breadth and complexity of Black identity “A lavish catalog . . . provides not just beautiful reproductions of the artworks but also commentary on the way these artists, and others, have used collage to address the full range of Black experience.”—Margaret Renkl, New York Times Building on a technique that has roots in European and American traditions, Black artists have turned to collage as a way to convey how the intersecting facets of their lives combine to make whole individuals. Artists have assembled pieces of paper, fabrics, and other, often salvaged, materials to create unified compositions that express the endless possibilities of Black-constructed narratives despite the fragmentation of our times. As artist Deborah Roberts asserts, “With collage, I can create a more expansive and inclusive view of the Black cultural experience.” More than 50 artists are represented in the book’s 140 color images, with some creating original artworks for this project. Featured artists include such well-known figures as Mark Bradford, Lauren Halsey, Kerry James Marshall, Wangechi Mutu, Howardena Pindell, Tschabalala Self, Lorna Simpson, Mickalene Thomas, and Kara Walker. In addition to scholarly essays, the publication contains short biographies of each artist written by Fisk University students. Distributed for the Frist Art Museum Exhibition Schedule: Frist Art Museum, Nashville, TN (September 15–December 31, 2023) Museum of Fine Arts, Houston, TX (February 18–May 12, 2024) The Phillips Collection, Washington, DC (July 6–September 22, 2024)

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A kaleidoscopic survey of black satire in 20th- and 21st-century American art In this groundbreaking study, Richard J. Powell investigates the visual forms of satire produced by black artists in 20th- and 21st-century America. Underscoring the historical use of visual satire as antiracist dissent and introspective critique, Powell argues that it has a distinctly African American lineage. Taking on some of the most controversial works of the past century—in all their complexity, humor, and provocation—Powell raises important questions about the social power of art. Expansive in both historical reach and breadth of media presented, Going There interweaves discussions of such works as the midcentury cartoons of Ollie Harrington, the installations of Kara Walker, the paintings of Robert Colescott, and the movies of Spike Lee. Other artists featured in the book include David Hammons, Arthur Jafa, Beverly McIver, Howardena Pindell, Betye Saar, and Carrie Mae Weems. Thoroughly researched and rich in context, Going There is essential reading in the history of satire, racial politics, and contemporary art.Published in association with the Hutchins Center for African & African American Research

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How black women have personified art,expression,identity, and freedom through performance Winner, 2016 William Sanders Scarborough Prize, presented by the Modern Language Association for an outstanding scholarly study of African American literature or culture Winner, 2016 Barnard Hewitt Award for Outstanding Research in Theatre History, presented by the American Society for Theatre Research Winner, 2016 Errol Hill Award for outstanding scholarship in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment. McMillan reframes the concept of the avatar in the service of black performance art, describing black women performers’ skillful manipulation of synthetic selves and adroit projection of their performances into other representational mediums. A bold rethinking of performance art, Embodied Avatars analyzes daring performances of alterity staged by “ancient negress” Joice Heth and fugitive slave Ellen Craft, seminal artists Adrian Piper and Howardena Pindell, and contemporary visual and music artists Simone Leigh and Nicki Minaj. Fusing performance studies with literary analysis and visual culture studies, McMillan offers astute readings of performances staged in theatrical and quotidian locales, from freak shows to the streets of 1970s New York; in literary texts, from artists’ writings to slave narratives; and in visual and digital mediums, including engravings, photography, and video art. Throughout, McMillan reveals how these performers manipulated the dimensions of objecthood, black performance art, and avatars in a powerful re-scripting of their bodies while enacting artful forms of social misbehavior. The Critical Lede interview with Uri McMillan

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How black women have personified art,expression,identity, and freedom through performance Winner, 2016 William Sanders Scarborough Prize, presented by the Modern Language Association for an outstanding scholarly study of African American literature or culture Winner, 2016 Barnard Hewitt Award for Outstanding Research in Theatre History, presented by the American Society for Theatre Research Winner, 2016 Errol Hill Award for outstanding scholarship in African American theater, drama, and/or performance studies, presented by the American Society for Theatre Research Tracing a dynamic genealogy of performance from the nineteenth to the twenty-first century, Uri McMillan contends that black women artists practiced a purposeful self-objectification, transforming themselves into art objects. In doing so, these artists raised new ways to ponder the intersections of art, performance, and black female embodiment. McMillan reframes the concept of the avatar in the service of black performance art, describing black women performers’ skillful manipulation of synthetic selves and adroit projection of their performances into other representational mediums. A bold rethinking of performance art, Embodied Avatars analyzes daring performances of alterity staged by “ancient negress” Joice Heth and fugitive slave Ellen Craft, seminal artists Adrian Piper and Howardena Pindell, and contemporary visual and music artists Simone Leigh and Nicki Minaj. Fusing performance studies with literary analysis and visual culture studies, McMillan offers astute readings of performances staged in theatrical and quotidian locales, from freak shows to the streets of 1970s New York; in literary texts, from artists’ writings to slave narratives; and in visual and digital mediums, including engravings, photography, and video art. Throughout, McMillan reveals how these performers manipulated the dimensions of objecthood, black performance art, and avatars in a powerful re-scripting of their bodies while enacting artful forms of social misbehavior. The Critical Lede interview with Uri McMillan

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