Hylla
Personnamn
Titel och upphov Making race : modern ism and "racial art" in America
Utgivning, distribution etc. University of Washington Press, Seattle, Wash. : c2012.
Utgivningsår
DDC klassifikationskod (Dewey Decimal Classification)
SAB klassifikationskod
Fysisk beskrivning xiv, 250 p., [8] p. of plates : ill. (some col.) ; 23 cm.
Anmärkning: Allmän
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Personnamn
Kronologisk term
Term
Geografiskt namn
ISBN 978-0-295-99145-0 (pbk.) :
Antal i kö:
*00002823nam a22007097a 4500
*00138928
*00520140603030910.2
*008110512s2012 wauaf b 001 0 eng d
*010 $a2011017782
*015 $aGBB1B5664$2bnb
*020 $a978-0-295-99145-0 (pbk.) :$c£26.99
*035 $a(SE-LIBR)16222710
*035 $a(Ko)43849
*040 $aStDuBDS$beng$cStDuBDS$dUk
*042 $aukblsr
*08204$a759.13$223
*084 $aIe-qa$2kssb/8 (machine generated)
*1001 $aFrancis, Jacqueline.
*24510$aMaking race :$bmodern ism and "racial art" in America /$cJacqueline Francis.
*260 $aSeattle, Wash. :$bUniversity of Washington Press,$cc2012.
*300 $axiv, 250 p., [8] p. of plates :$bill. (some col.) ;$c23 cm.
*500 $aFormerly CIP.
*504 $aIncludes bibliographical references and index.
*599 $aImported from: z3950cat.bl.uk:9909/BNB03U (Do not remove)
*60010$aJohnson, Malvin Gray,$d1896-1934$xCriticism and interpretation.
*60010$aKuniyoshi, Yasuo,$d1889-1953$xCriticism and interpretation.
*60010$aWeber, Max,$d1881-1961$xCriticism and interpretation.
*648 7$a1900-talet$2sao
*650 7$aAmerikansk målarkonst$2sao$0https://id.kb.se/term/sao/Amerikansk%20m%C3%A5larkonst
*650 7$aModern ism (konst)$2sao$0https://id.kb.se/term/sao/Modern ism%20%28konst%29
*650 7$aKonstkritik
*650 0$aModern ism (Art)$zUnited States.
*650 0$aPainting, American$y20th century.
*650 0$aArt criticism$zUnited States$xHistory$y20th century.
*650 0$aArt and race.
*650 0$aModern ism (Art)
*650 0$aPainting, American
*651 4$aFörenta staterna$2sao
*655 7$aAnalys och tolkning$2saogf
*841 $5Ko$ax a$b140508||0000|||||001||||||000000$e1
*852 $5Ko$bKo$hKONST - Ib-q
*950 $aModern ismen (konst)$w||e$uModern ism (konst)
*950 $aModern ismen$xkonsthistoria$w||e$uModern ism (konst)
*950 $aKonst$xhistoria$y1900-talet$wg$uModern ism (konst)
*950 $aDadaism (konst)$wh$uModern ism (konst)
*950 $aExperimentell konst$wh$uModern ism (konst)
*950 $aExpressionism$wh$uModern ism (konst)
*950 $aFauvism$wh$uModern ism (konst)
*950 $aFuturism (konst)$wh$uModern ism (konst)
*950 $aKonstruktivism (konst)$wh$uModern ism (konst)
*950 $aKubism$wh$uModern ism (konst)
*950 $aMetafysiskt måleri$wh$uModern ism (konst)
*950 $aVorticism$wh$uModern ism (konst)
*950 $aAvantgarde (estetik)$uModern ism (konst)
*950 $aMålarkonst$zFörenta staterna$uAmerikansk målarkonst
*951 $aNordamerikas Förenta stater$uFörenta staterna
*951 $aAmerikas förenta stater$uFörenta staterna
*951 $aUnited States of America$uFörenta staterna
*951 $aU.S.$uFörenta staterna
*951 $aUSA$uFörenta staterna
*955 $aTolkning$uAnalys och tolkning
^
Det finns inga omdömen till denna titeln.
Klicka här
för att vara den första som skriver ett omdöme.
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.