...Jeanne Siegel Spiral, founded in 1963 by Romare Bearden, Norman Lewis, and Charles Alston, was a group of black American artists in New York. This article, originally published in ARTnews in 1966, explores the attitudes of Spiral’s membership about civil rights, Negro art, the “Negro Image...

...Mia L. Bagneris Unequivocal in his professed lack of interest in incorporating any sort of African influence into his work, Palmer Hayden once famously quipped: “I never had any desire to paint anything about Africa. I painted what Negroes, colored people, us Americans do … we’re a brand new race...

... of Negro Arts (Dakar, Senegal, 1966), the International Meeting of Sculptors (Mexico City, 1968), and the Pan-African Cultural Festival (Algiers, 1969). The transnational relationships and growing solidarity with Third Worldism and Pan-Africanism evident in the exhibition history of the 1960s show the ways...

... by the two major movements in African American art of the twentieth century—the New Negro Arts movement and the Black Arts movement—Jones’s unique black perspective was often viewed through the mask, a symbol of classical African art and a signifier of black identity. For her, it acted as muse...

...Emily C. Burns emily.burns@auburn.edu Copyright © 2022 by Nka Publications 2022 Transverse Spaces African American Cultural Production in Paris, 1900 Emily C. Burns T humbing through one of the albums compil­ ed by W. E. B. Du Bois rendering Negro Life in Georgia, U.S.A., featured...

... of blackness, as opposed to what Lee’s poem “for black people (and negroes too): a the movement saw as the dominant (white) culture’s poetic statement on black existence in america with 12 • Nka Journal of Contemporary African Art • 29 • Fall 2011...

.... Specifically, Delaney s choice to so consistently avoid representing Harlem the undisputed Negro Mecca and Black Capital of the World just uptown is curious given the neighborhood s symbolic and sociological primacy.6 Situating his genre scenes in Greenwich Village, Delaney envisions an enlarged...

... African Art cials and fines for their communities. contemporary cultural discourses that articulated The second show, called Struggle for Negro Rights, lynching's social impact in relation to concepts of was developed by leftist members of the Artists' manhood...

... patterns that often evoke content-laden textures, elided into several distinctive late paintings also featured. Journal of Contemporary African Art 45 November 2019140 Nka DOI 10.1215/10757163-7917192 © 2019 by Nka Publications S eeing the mural Five Great American Negroes (1939) at the entrance...

... affiliated National Negro Congress (NNC), established in 1936 as a leftist coalition dedicated to labor organizing and advancing racial equity. Catlett served on the editorial board of the NNC s monthly publication Congress Vue (later Congress View), a platform launched in 1943 for promoting opposition...

... tion, and stereotype and anticipated black (domestic work).3 Maudelle conformed to none women's self-portraiture of the late twentieth cen• of these. Though there were movements by artists tury. Emerging out of both the New Negro period from the Harlem Renaissance through...

... enabled me to better understand my own. Thus strengthened, I gained a new confidence for the future.5 In part of a statement originally made in his UNESCO application and repeated in the opening pages of Ananse, Biggers declared: As an American Negro, my lifelong desire had been to bridge the gap between...

... through music. In “Singing Saints,” Sargent Johnson has litho- Dorothy C. (1939) is an interpretation of a modern graphed a true lyrical feeling of the full tones of the black woman, but it shares its compositional organi- Negro voices and accomplished it with a simple sin- zation and urban context...

... a large open-mouthed negro gap• Charles: An American Artist, 1989- ing to receive cunnilingus or per• 1997" shown last year...

... White, and Todd Williams for Dix Artistes Nègres Des États-Unis (Ten Negro Artists from the United States) at the 1966 First World Festival of Negro Arts, in Dakar, Senegal, might very likely need to be read through a different range of lenses than Martin Puryear at Venice. Louie Robinson, the writer...

...- nized by Romare Bearden, Norman Lewis, and ington and we thought it might be interesting as a I Charles Alston in 1963, is the model for postwar group of Negro artists maybe to hire a bus — a great American artist groups.1 Under the banner of civil number of people, as you know, were converging...

.... We would be T wealthier Chicago suburb one hot July day freed. in 1962, I asked Wadsworth Jarrell if he thought it But this was before the Washington picnic, its would be possible to start a “negro” art movement eloquent dream and its dynamite reality at the based on a common aesthetic...

... this but at the negroes rebellion and revolution, I suppose the most politi- who accepted it. cally sensitive of us began to pull away from the That’s why the Cuban Revolution was so heavy bourgeois rubric that art and politics were separate in our sensibility. That’s why Robert Williams was and exclusive entities...

..., 2000). 2 See, for example, Holland Cotter, “Art View: Art That’s Valued for What It Can Do,” New York Times, July 18, 1993. 3 Alain Locke, “The Legacy of Ancestral Arts,” in The New Negro: An Interpretation, ed. Alain Locke (New York: Boni, 1925), 254–67. 4 See Paul Guillaume...