Fulton and Nostrand
1958
Jacob Lawrence
(American, 1917–2000)
America
See Also
Videos
The Composition of the Painting
All Walks of Life
The Artist, Jacob Lawrence
Lawrence's Process
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The Black Index
by Bridget R Cooks (Editor), Sarah Watson (Editor)The artists featured in The Black Index—Dennis Delgado, Alicia Henry, Kenyatta A.C. Hinkle, Titus Kaphar, Whitfield Lovell, and Lava Thomas—build upon the tradition of Black self-representation as an antidote to colonialist images. Their translations of photography challenge the medium’s long-assumed qualities of objectivity, legibility, and identification. Using drawing, sculpture, and digital technology to transform the recorded image, these artists question our reliance on photography as a privileged source for documentary objectivity and historical understanding. The works featured here offer an alternative practice—a Black index. In the hands of these six artists, the index still serves as a finding aid for information about Black subjects, but it also challenges viewers’ desire for classification and, instead, redirects them toward alternative information. 128 pagesPublished November 2nd, 2021
William H. Johnson Coloring Book
Born in South Carolina to a poor African American family, William H. Johnson (1901–1970) moved to New York at age seventeen. He worked a variety of jobs to pay for an art education at the prestigious National Academy of Design, where he earned numerous awards and the respect of his teachers and fellow students.Johnson spent the late 1920s in France, absorbing the lessons of modernism. As a result, his work became more expressive and emotional. During this same period, he met and fell in love with Danish artist Holcha Krake. The couple married and spent most of the 1930s in Scandinavia, where he painted portraits of fisherman, landscapes, and the spectacular mountains and fjords in the land of the midnight sun. By the late ’30s, the threat of war and Johnson’s need to “paint his own people" had convinced him to return to New York, where he created powerful scenes of African American life.Johnson’s later life was plagued by illness, and he spent his final years in a Long Island hospital. After his death, his entire life’s work was almost disposed of to save storage fees but was rescued by friends at the last moment. Over a thousand artworks by Johnson are now part of the collection of the Smithsonian American Art Museum. Soft cover book with staple binding.48 pages with 22 images to colorSize: 8½ x 11 in.Coloring pages are blank on the back so they can be cut out and displayed.This item is published with the Smithsonian American Art Museum by PomegranateKids®, an imprint of Pomegranate Communications, and is CPSIA compliant. Images Sweet Adeline Sowing Flowers Breakdown Chalet in the Mountains Lift Up Thy Voice and Sing Ferry Boat Trip Jitterbugs (I) Street Life, Harlem Art Class Blind Musician Li’L Sis Going to Church Wedding Couple Farewell Dockyard Flower to Teacher Three Little Children Deep South Folk Family Still Life—Flowers Children Dance
Collusions of Fact and Fiction
by Ilka Saal Collusions of Fact and Fiction traces a generational shift in late twentieth-century African American cultural engagements with the history and legacies of transatlantic slavery. With a focus on works by playwright Suzan-Lori Parks and visual artist Kara Walker, the book explores how, in comparison to the first wave of neo-slave narratives of the 1970s and 1980s, artists of the 1990s and early 2000s tend to approach the past from the vantage point of a liberal entanglement of fact and fiction as well as a highly playful, often humorous, and sometimes irreverent signifying on entrenched motifs, iconographies, and historiographies. Saal argues that the attempt to reconstruct or recuperate the experience of African Americans under slavery is no longer at stake in the works of artists growing up in the post–Civil Rights era. Instead, they lay bare the discursive dimension of our contemporary understanding of the past, and address the continued impact of its various verbal and visual signs upon contemporary identities. In this manner, Parks and Walker stake out new possibilities for engaging the past and inhabiting the present and future. Published 2021
Sanford Biggers: Codeswitch
by Andrea Andersson (Editor), Antonio Sergio Bessa (Editor), Greg Tate (Contributor), Jacqueline Tobin (Contributor), Raymond Dobard (Contributor), Mia Kang (Contributor), John Jennings (Contributor), David Brame (Contributor) “What I want to do is code-switch. To have there be layers of history and politics, but also this heady, arty stuff—inside jokes, black humor—that you might have to take a while to research if you want to really get it.”—Sanford BiggersSanford Biggers (b. 1970) is a Harlem-based artist working in various media including painting, sculpture, video, and performance. He describes his practice as “code-switching”—mixing disparate elements to create layers of meaning—to account for his wide-ranging interests. This catalogue focuses on a series of repurposed quilts (many made in the 19th century) that embodies this interest in mixture. Informed by the significance of quilts to the Underground Railroad, Biggers transforms the quilts into new works using materials such as paint, tar, glitter, and charcoal to add his own layers of codes, whether they be historical, political, or purely artistic. Insightful essays survey Biggers’s career, his art in relation to music, and the history upon which the series draws. Also featured is a short yet powerful graphic essay by an award-winning illustrator that introduces the layered meanings inherent in the art and craft of quilting. 192 pagesPublished 2020
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