Search results for ""Author Jacqueline Francis""

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.

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This book examines the involvement of African American artists in the New Deal art programs of the 1930s. Emphasizing broader issues informed by the uniqueness of Black experience rather than individual artists’ works, Mary Ann Calo makes the case that the revolutionary vision of these federal art projects is best understood in the context of access to opportunity, mediated by the reality of racial segregation.Focusing primarily on the Federal Art Project (FAP) of the Works Progress Administration (WPA), Calo documents African American artists’ participation in community art centers in Harlem, in St. Louis, and throughout the South. She examines the internal workings of the Harlem Artists’ Guild, the Guild’s activities during the 1930s, and its alliances with other groups, such as the Artists’ Union and the National Negro Congress. Calo also explores African American artists’ representation in the exhibitions sponsored by WPA administrators and the critical reception of their work. In doing so, she elucidates the evolving meanings of the terms race, culture, and community in the interwar era. The book concludes with an essay by Jacqueline Francis on Black artists in the early 1940s, after the end of the FAP program.Presenting essential new archival information and important insights into the experiences of Black New Deal artists, this study expands the factual record and positions the cumulative evidence within the landscape of critical race studies. It will be welcomed by art historians and American studies scholars specializing in early twentieth-century race relations.

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A rich reappraisal of a key Black American modernist through a lens of cross-cultural engagement Sargent Claude Johnson (1888–1967) was the first Black modernist on the West Coast to gain national acclaim. His artistic practice, forged in California, drew from a range of international influences, including traditional and contemporary arts of Africa, Asia, Europe, and Latin America, particularly Mexican modernism and Indigenous pottery techniques. Spanning the Black Renaissance of the 1920s and 1930s to the Civil Rights Movement of the 1950s and 1960s, Johnson’s career was devoted to sensitive, ennobling portrayals of people of color. Though best known as a sculptor, he worked expertly in a broad range of media—from painting and printmaking to enamelwork and ceramics—each illuminating his multifaceted identity as an artist. In this catalogue, leading scholars examine Johnson’s artistic evolution and offer fresh perspectives on his work. From sculptures of underrepresented subjects to majestic architectural commissions—including a celebrated mural reproduced in lavish gatefold format—the book positions Johnson’s oeuvre within an expansive framework of global modernism. Distributed for the Huntington Library, Art Museum, and Botanical Gardens Exhibition Schedule: Huntington Library, Art Museum, and Botanical Gardens (February 17–May 20, 2024)

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