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Afro Atlantic Histories LACMA: A Critical Examination of a Complex Narrative
Author: Dr. Imani Perry, Professor of African American Studies at Princeton University
Keywords: Afro Atlantic Histories LACMA, LACMA Afro-Atlantic, African Diaspora, Transatlantic Slave Trade, Black Art History, Cultural Exchange, Colonialism, Postcolonialism, Diaspora Studies, Museum Studies, Art and Social Justice.
Abstract: This article provides a thoughtful examination of the exhibition "Afro Atlantic Histories" at the Los Angeles County Museum of Art (LACMA). It analyzes the opportunities and challenges presented by such a large-scale exhibition in representing the complexities of Afro-Atlantic history and culture. The article explores the potential for fostering greater understanding and inclusivity, while also acknowledging the inherent limitations and potential pitfalls of museum representation.
Introduction: Navigating the complexities of "Afro Atlantic Histories" at LACMA
The Los Angeles County Museum of Art's (LACMA) exhibition, "Afro Atlantic Histories," represents a significant undertaking in grappling with the multifaceted and often traumatic history of the African diaspora across the Atlantic. This exhibition holds immense potential to reshape public understanding of this crucial period, prompting critical conversations around colonialism, slavery, resistance, and cultural exchange. However, mounting an exhibition of this magnitude presents significant challenges, particularly in navigating the sensitive and emotionally charged narratives it seeks to convey. This analysis explores both the opportunities and challenges posed by "Afro Atlantic Histories LACMA," focusing on its curatorial choices, its engagement with diverse perspectives, and its impact on broader discussions surrounding representation, memory, and social justice.
Opportunities: Reframing Narratives and Fostering Dialogue
"Afro Atlantic Histories LACMA" offers a unique opportunity to disrupt traditional, Eurocentric narratives that often marginalize or misrepresent African and African diasporic experiences. By centering African agency and resilience, the exhibition can challenge dominant historical accounts that focus primarily on the suffering inflicted during the transatlantic slave trade. The inclusion of a wide range of artistic media—from paintings and sculptures to textiles, photography, and film—provides a multi-sensory approach to storytelling, enabling viewers to engage with diverse forms of cultural expression and historical documentation. The exhibition can also facilitate vital dialogue within the community, encouraging critical reflection on the lasting legacies of slavery and colonialism, and fostering a more nuanced understanding of the complexities of racial identity and cultural heritage in the Afro-Atlantic world. The sheer scale of the exhibition at LACMA, a major international museum, amplifies its potential reach and impact, making it a pivotal moment in the ongoing effort to decolonize museum spaces and diversify artistic representation.
Challenges: Representation, Interpretation, and the Limits of the Museum
Despite its potential, "Afro Atlantic Histories LACMA" faces significant challenges. One key concern is the potential for oversimplification or essentialization of vastly diverse cultures and experiences within the African diaspora. The exhibition's curatorial decisions regarding object selection, narrative framing, and the incorporation of diverse voices are crucial in avoiding generalizations that erase regional and cultural distinctions. The balance between representing the horrors of slavery and colonialism and highlighting the resilience, creativity, and agency of African peoples is a delicate one that requires careful consideration. There’s always the risk that focusing solely on suffering could inadvertently perpetuate harmful stereotypes, overlooking the richness and complexity of African and African diasporic cultures.
Furthermore, the very nature of a museum exhibition presents inherent limitations. The curated selection of artifacts and narratives inevitably involves choices that shape the story being told, potentially overlooking certain perspectives or experiences. The physical space of the museum itself can also influence the visitor's experience, potentially overshadowing the voices of the communities most directly affected by the narratives presented. The potential for misinterpretation and the perpetuation of harmful stereotypes cannot be ignored. The exhibition's success hinges on its ability to effectively address these challenges, creating a space for critical engagement rather than passive consumption.
Afro Atlantic Histories LACMA: Beyond the Exhibition
The impact of "Afro Atlantic Histories LACMA" extends beyond the physical exhibition space. The museum's accompanying educational programs, public lectures, and online resources are crucial for fostering deeper engagement with the themes explored. The development of collaborative partnerships with community organizations and scholars specializing in African diasporic studies can further enhance the exhibition's accessibility and impact. Furthermore, the success of the exhibition should be measured not only by its attendance figures but also by its contribution to broader social justice initiatives and its lasting influence on public discourse surrounding race, history, and culture. The exhibition could spark further research and encourage the creation of more inclusive educational materials for schools and universities.
Conclusion
"Afro Atlantic Histories LACMA" presents a crucial opportunity to advance understanding of the Afro-Atlantic world. Its potential to reshape historical narratives, foster dialogue, and promote greater inclusivity is undeniable. However, the exhibition's success depends on careful attention to the challenges inherent in representing such complex and sensitive material. By acknowledging the limitations of museum representation and prioritizing the voices of affected communities, LACMA can contribute significantly to a more just and accurate understanding of the Afro-Atlantic experience. The lasting legacy of this exhibition will be determined not only by its artistic merits but also by its capacity to initiate meaningful change in the way we understand and represent the past.
FAQs
1. What is the time period covered in "Afro Atlantic Histories LACMA"? The exhibition spans several centuries, encompassing the transatlantic slave trade, colonialism, and the ongoing impact of these historical forces on the African diaspora.
2. What types of art are featured in the exhibition? The exhibition features a diverse range of artistic media, including paintings, sculptures, textiles, photography, and film, reflecting the rich cultural expressions of the Afro-Atlantic world.
3. How does the exhibition address the transatlantic slave trade? The exhibition confronts the brutal realities of the transatlantic slave trade while also highlighting the resilience and agency of enslaved Africans.
4. Does the exhibition engage with contemporary issues? Yes, the exhibition connects historical narratives to contemporary issues of race, identity, and social justice.
5. What is the role of community engagement in the exhibition? Community engagement is vital to the exhibition’s success, including collaborative partnerships with community organizations and scholars.
6. How accessible is the exhibition to diverse audiences? LACMA strives to make the exhibition accessible to diverse audiences through multilingual materials, educational programs, and community partnerships.
7. What are the educational resources accompanying the exhibition? Educational resources include guided tours, lectures, workshops, and online materials designed to enhance understanding.
8. How does the exhibition address the complexities of cultural exchange? The exhibition explores the complex dynamics of cultural exchange, highlighting both the appropriation and the adaptation of cultural forms across the Atlantic.
9. What is the overall goal of "Afro Atlantic Histories LACMA"? The overall goal is to foster a more nuanced and inclusive understanding of Afro-Atlantic history and culture, challenging traditional narratives and promoting social justice.
Related Articles:
1. "The Power of Black Art: Reframing Narratives in LACMA's Afro Atlantic Histories": This article focuses on the specific artistic works featured in the exhibition and analyzes their significance in shaping our understanding of Afro-Atlantic history.
2. "Curatorial Choices and Challenges in Presenting Afro Atlantic Histories": This article examines the curatorial decisions behind the exhibition, highlighting both the successes and shortcomings in presenting a complex narrative.
3. "Community Engagement and the Afro Atlantic Histories Exhibition at LACMA": This piece focuses on the role of community partnerships and their impact on the exhibition's success and accessibility.
4. "The Legacy of Slavery: Interpreting Afro Atlantic Histories at LACMA": This article examines the exhibition's treatment of the legacy of slavery, analyzing its effectiveness in communicating the lasting impact of this traumatic historical period.
5. "Afro Atlantic Histories and the Decolonization of Museum Spaces": This article explores the exhibition’s contribution to the broader movement to decolonize museums and diversify artistic representation.
6. "Afro Atlantic Histories: A Comparative Study with Other Major Museum Exhibitions": This article compares and contrasts LACMA's exhibition with other significant museum exhibitions focused on the African diaspora.
7. "The Role of Digital Resources in Extending the Reach of Afro Atlantic Histories": This article examines the use of digital platforms and online resources to make the exhibition's content more widely accessible.
8. "Critical Responses to Afro Atlantic Histories: A Review of Public and Scholarly Commentary": This article gathers and analyzes critical reactions to the exhibition, providing a comprehensive overview of diverse perspectives.
9. "Afro Atlantic Histories LACMA: A Case Study in Museum Education": This article examines the educational programs and initiatives associated with the exhibition and their impact on visitor understanding.
Afro-Atlantic Histories at LACMA: Reframing Narratives and Reshaping the Art World
By Dr. Anya Sharma, PhD
Dr. Anya Sharma is a leading scholar in African Diaspora studies and art history, with a focus on the transatlantic slave trade’s impact on cultural production. She is the author of “Traces of Resistance: Art and Identity in the Afro-Atlantic World” and a contributing editor to the Journal of African Art History. Her expertise lends significant weight to the discussion of the implications of LACMA's "Afro-Atlantic Histories" initiative.
Published by: ArtNexus Magazine
ArtNexus Magazine is a highly respected international publication known for its insightful analyses of contemporary art trends and its commitment to diverse voices within the art world. For over two decades, ArtNexus has established itself as a leading authority on Latin American and global art.
Edited by: Isabella Rossi
Isabella Rossi has been an editor at ArtNexus for ten years, specializing in articles concerning museum exhibitions and their societal impact. Her extensive network within the museum and academic communities ensures the quality and accuracy of the publication's content.
Introduction: The Los Angeles County Museum of Art (LACMA)'s ambitious undertaking, "Afro-Atlantic Histories," signifies a monumental shift in how museums engage with the complex and often painful legacy of the transatlantic slave trade and its enduring impact on global culture. This exhibition, and the broader initiative it represents, carries profound implications for the art industry, challenging established canons, fostering inclusive narratives, and demanding a reckoning with historical injustices. This article delves into the significance of "afro-atlantic histories lacma," analyzing its impact on curatorial practices, museum ethics, and the future of art historical scholarship.
H1: Reframing the Narrative: Challenging Eurocentric Perspectives in Art History
The "afro-atlantic histories lacma" project directly confronts the persistent Eurocentric bias that has long dominated art historical narratives. For too long, African and African diasporic art has been marginalized, relegated to the periphery of mainstream discourse, or exoticized within a limited framework of "primitive" or "folk" art. LACMA's commitment to showcasing a wider range of artistic expressions – from paintings and sculptures to textiles, music, and performance art – challenges this narrow perspective and allows for a more nuanced understanding of the creative contributions of African peoples across the Atlantic world. This reframing is vital, not just for academic circles, but for the broader public, promoting a more inclusive and representative view of global art history.
H2: The Economic and Social Implications of Inclusive Museum Practices
The financial implications of embracing "afro-atlantic histories lacma" are multifaceted. While initial investments in research, acquisitions, and exhibitions may seem substantial, the long-term benefits are undeniable. Museums that actively prioritize diversity and inclusion attract a wider, more diverse audience, thereby increasing visitor numbers and generating revenue. Furthermore, the ethical imperative of acknowledging and rectifying historical injustices builds trust and strengthens the museum's relationship with the communities it serves. The economic success of initiatives like "afro-atlantic histories lacma" demonstrates the financial viability of embracing inclusivity.
H3: Curatorial Practices and the Ethics of Representation
The success of "afro-atlantic histories lacma" hinges on ethical curatorial practices. This requires not only the careful selection of artifacts and artworks but also a commitment to engaging with communities directly affected by the histories being represented. Collaborating with scholars, artists, and community members ensures that narratives are authentically presented and avoids perpetuating harmful stereotypes. The initiative demonstrates a vital shift towards collaborative curation, recognizing the expertise and lived experiences of those most intimately connected to the subject matter. This collaborative approach exemplifies best practices for future museum initiatives dealing with sensitive historical themes.
H4: The Future of Art Historical Scholarship and the "Afro-Atlantic Histories Lacma" Legacy
The impact of "afro-atlantic histories lacma" extends far beyond the walls of the museum. It serves as a catalyst for broader conversations within the art historical field, prompting a reassessment of existing methodologies and a greater commitment to interdisciplinary approaches. By prioritizing diverse voices and perspectives, the project encourages new research avenues, opening up spaces for nuanced interpretations and previously unheard narratives. The legacy of this initiative will likely be a more inclusive and representative art historical canon, shaped by a deeper understanding of the Afro-Atlantic world.
Conclusion: "Afro-Atlantic Histories" at LACMA is not merely an exhibition; it’s a statement, a commitment to a more just and representative understanding of art history. Its impact on the industry is profound, prompting a critical reassessment of curatorial practices, museum ethics, and the very foundation of art historical scholarship. The success of this initiative serves as a model for other museums worldwide, highlighting the necessity and the potential rewards of embracing inclusive narratives and confronting uncomfortable historical truths.
FAQs:
1. What is the significance of the "Afro-Atlantic Histories" initiative at LACMA? It challenges Eurocentric biases in art history, promotes inclusive narratives, and confronts the legacy of the transatlantic slave trade.
2. How does the initiative impact the art industry economically? It attracts diverse audiences, increasing revenue and strengthening community ties.
3. What are the ethical considerations involved in curating "Afro-Atlantic Histories"? Prioritizing collaboration with affected communities, ensuring authentic representation, and avoiding harmful stereotypes are crucial.
4. How does the project influence art historical scholarship? It encourages interdisciplinary approaches, new research avenues, and a more inclusive canon.
5. What are some of the key artworks or themes featured in the exhibition? (This would require specifics from the actual exhibition catalogue.)
6. How does LACMA engage with community groups related to the exhibition? (This requires information from LACMA's public engagement materials.)
7. What are the long-term goals of the "Afro-Atlantic Histories" initiative? To reshape the understanding of global art history and foster a more inclusive museum experience.
8. How can other museums learn from LACMA's approach? By prioritizing ethical curation, community engagement, and inclusive narratives.
9. What are some criticisms or challenges faced by the initiative? (This should address potential criticisms or difficulties, requiring research on reactions to the exhibition.)
Related Articles:
1. "LACMA's Afro-Atlantic Histories: A Critical Analysis": A scholarly article analyzing the exhibition's curatorial choices and their impact on academic discourse.
2. "Community Engagement and the Afro-Atlantic Histories Project": An article focusing on LACMA's community outreach programs related to the exhibition.
3. "The Economics of Inclusive Museum Practices: A Case Study of LACMA": An analysis of the economic implications of LACMA's commitment to diversity and inclusion.
4. "Representing the Transatlantic Slave Trade in Museums: Ethical Considerations": A discussion of the ethical challenges involved in presenting sensitive historical themes in museum settings.
5. "Afro-Atlantic Art: A New Canon Emerges": An overview of significant artworks and artists featured in the exhibition and the wider Afro-Atlantic art world.
6. "The Impact of Afro-Atlantic Histories on Art Historical Methodology": An exploration of how the initiative challenges traditional approaches to art history.
7. "Museum Activism and Social Justice: The Role of LACMA's Afro-Atlantic Histories": An examination of the exhibition's role in broader conversations about social justice.
8. "Afro-Atlantic Music and its Global Influence": An article focusing on the musical aspects of the Afro-Atlantic world featured in the exhibition.
9. "The Role of Technology in Presenting Afro-Atlantic Histories": A discussion of how LACMA uses digital technologies to enhance the exhibition and engagement.
| afro atlantic histories lacma: Beyond Line Stephen Little, Virginia Moon, 2019-05-28 Spanning two millennia and including nearly 150 works of art, this elegant book traces the history of Korean calligraphy from the first century to the present. Offering an extraordinary window into Korean culture, this magnificent volume brings a multidisciplinary approach to the history of Korean writing--from the earliest texts from the Three Kingdoms period to its use in contemporary art. Beyond Line discusses the social and cultural conditions that led to the creation of calligraphic works by a wide range of people, including kings, queens, officials, scholars, painters, monks, and even slaves. It also explores the variety of materials employed in the creation of the art--from paper, ink, and bamboo to ceramics, silk, and metal. In addition, it looks at how calligraphy was used both to maintain Korea's historical class structure and, as literacy spread, to incite social change for women, merchants, and other segments of society. The authors explore how the invention of the hangeul phonetic script led to a more global identity for Korea, and how this script continues to shape contemporary art and design. Beyond Line illuminates the restrained beauty, strength, and flexibility of Korean calligraphy. Copublished by the Los Angeles County Museum of Art and DelMonico Books |
| afro atlantic histories lacma: Betye Saar Carol S. Eliel, 2019 This publication presents Betye Saar's sketchbooks--which she has kept during her entire career--for the first time and offers insights into the artist's creative process. A child of the Great Depression and one of the only African American students in her UCLA art program, Betye Saar has, over the course of more than six decades, made work that exposes stereotypes and injustices based on race and gender. From early prints and watercolors to Joseph Cornell-inspired assemblages and full-scale sculptural tableaux, her work has inspired generations of artists. This ingeniously designed publication plays off the format of Saar's original sketchbooks. Made throughout her extraordinary career, Saar's sketches are an integral part of her creative process and offer a greater understanding of the themes woven into her finished works, which are also featured in the book. Saar's sources and influences range from Simon Rodia's Watts Towers and Haitian Vodou fetishes to Australian Aboriginal paintings, Native American leatherwork, and African American history, literature, and music. An original, intimate, and valuable resource for Saar's many fans, this book will also educate future generations about Saar's significant contributions to American art. Published with the Los Angeles County Museum of Art |
| afro atlantic histories lacma: Liquor Store Theatre Maya Stovall, 2020-10-09 For six years Maya Stovall staged Liquor Store Theatre, a conceptual art and anthropology video project---included in the Whitney Biennial in 2017---in which she danced near the liquor stores in her Detroit neighborhood as a way to start conversations with her neighbors. In this book of the same name, Stovall uses the project as a point of departure for understanding everyday life in Detroit and the possibilities for ethnographic research, art, and knowledge creation. Her conversations with her neighbors—which touch on everything from economics, aesthetics, and sex to the political and economic racism that undergirds Detroit's history—bring to light rarely acknowledged experiences of longtime Detroiters. In these exchanges, Stovall enacts an innovative form of ethnographic engagement that offers new modes of integrating the social sciences with the arts in ways that exceed what either approach can achieve alone. |
| afro atlantic histories lacma: Exhibiting Blackness Bridget R. Cooks, 2011 In Exhibiting Blackness, art historian Bridget R. Cooks analyzes the curatorial strategies, challenges, and critical receptions of the most significant museum exhibitions of African American art. Tracing two dominant methodologies used to exhibit art by African Americans--an ethnographic approach that focuses more on artists than their art, and a recovery narrative aimed at correcting past omissions--Cooks exposes the issues involved in exhibiting cultural difference that continue to challenge art history, historiography, and American museum exhibition practices. By further examining the unequal and often contested relationship between African American artists, curators, and visitors, she provides insight into the complex role of art museums and their accountability to the cultures they represent.-- |
| afro atlantic histories lacma: Betye Saar Betye Saar, 2017 Catalog of an exhibition held at De Domijnen in Sittard, the Netherlands, July 28 - November 15, 2015 and at the Scottsdale Museum of Contemporary Art, Scottsdale, Arizona, January 30 - May 1, 2016. |
| afro atlantic histories lacma: Now Dig This! Kellie Jones, 2011 This comprehensive, lavishly illustrated catalogue offers an in-depth survey of the incredibly vital but often overlooked legacy of Los Angeles's African American artists, featuring many never-before-seen works. |
| afro atlantic histories lacma: Art Is Everything Yxta Maya Murray, 2021-01-15 In her funny, idiosyncratic, and propulsive new novel, Art Is Everything, Yxta Maya Murray offers us a portrait of a Chicana artist as a woman on the margins. L.A. native Amanda Ruiz is a successful performance artist who is madly in love with her girlfriend, a wealthy and pragmatic actuary named Xōchitl. Everything seems under control: Amanda’s grumpy father is living peacefully in Koreatown; Amanda is about to enjoy a residency at the Guggenheim Museum in New York and, once she gets her NEA, she’s going to film a groundbreaking autocritical documentary in Mexico. But then everything starts to fall apart when Xōchitl’s biological clock begins beeping, Amanda’s father dies, and she endures a sexual assault. What happens to an artist when her emotional support vanishes along with her feelings of safety and her finances? Written as a series of web posts, Instagram essays, Snapchat freakouts, rejected Yelp reviews, Facebook screeds, and SmugMug streams-of-consciousness that merge volcanic confession with eagle-eyed art criticism, Art Is Everything shows us the painful but joyous development of a mid-career artist whose world implodes just as she has a breakthrough. |
| afro atlantic histories lacma: Black Futures Kimberly Drew, Jenna Wortham, 2021-10-26 “A literary experience unlike any I’ve had in recent memory . . . a blueprint for this moment and the next, for where Black folks have been and where they might be going.”—The New York Times Book Review (Editors’ Choice) What does it mean to be Black and alive right now? Kimberly Drew and Jenna Wortham have brought together this collection of work—images, photos, essays, memes, dialogues, recipes, tweets, poetry, and more—to tell the story of the radical, imaginative, provocative, and gorgeous world that Black creators are bringing forth today. The book presents a succession of startling and beautiful pieces that generate an entrancing rhythm: Readers will go from conversations with activists and academics to memes and Instagram posts, from powerful essays to dazzling paintings and insightful infographics. In answering the question of what it means to be Black and alive, Black Futures opens a prismatic vision of possibility for every reader. |
| afro atlantic histories lacma: Mexico Metropolitan Museum of Art (New York, N.Y.), Los Angeles County Museum of Art, 1990 Precolumbian art -- Viceregal art -- Nineteenth century art -- Twentieth century art. |
| afro atlantic histories lacma: Light on Fire Gabrielle Selz, 2021-10-19 The first in-depth biography of Sam Francis, the legendary American abstract painter who broke all the rules in his personal and artistic life. Light on Fire is the first comprehensive biography of Sam Francis, one of the most important American abstract artists of the twentieth century. Based on Gabrielle Selz’s unprecedented access to Francis’s files, as well as private correspondence and hundreds of interviews, this book traces the extraordinary and ultimately tragic journey of a complex and charismatic artist who first learned to paint as a former air-corps pilot encased for three years in a full-body cast. While still a young man, Francis saw his color-saturated paintings fetch the highest prices of any living artist. His restless desire resulted in five marriages and homes on three continents; his entrepreneurial spirit led to founding a museum, a publishing company, a reforestation program and several nonprofits. Light on Fire captures the art, life, personality, and talent of a man whom the art historian and museum director William C. Agee described as a rare artist participating in the “visionary reconstruction of art history,” defying creative boundaries among the likes of Jackson Pollock, Mark Rothko, and Willem de Kooning. With settings from World War II San Francisco to postwar Paris, New York, Tokyo, and Los Angeles, Selz crafts an intimate portrait of a man who sought to resolve in art the contradictions he couldn’t resolve in life. |
| afro atlantic histories lacma: Domestic Scenes: The Art of Ramiro Gomez Lawrence Weschler, 2016-04-12 Award-winning author Lawrence Weschler’s book on the young Mexican American artist Ramiro Gomez explores questions of social equity and the chasms between cultures and classes in America. Gomez, born in 1986 in San Bernardino, California, to undocumented Mexican immigrant parents, bridges the divide between the affluent wealthy and their usually invisible domestic help—the nannies, gardeners, housecleaners, and others who make their lifestyles possible—by inserting images of these workers into sly pastiches of iconic David Hockney paintings, subtly doctoring glossy magazine ads, and subversively slotting life-size painted cardboard cutouts into real-life situations. Domestic Scenes engages with Gomez and his work, offering an inspiring vision of the purposes and possibilities of art. |
| afro atlantic histories lacma: Painted in Mexico, 1700-1790 Jaime Cuadriello, Luisa Elena Alcalá, Paula Mues Orts, Ronda Kasl, 2017 Painted in Mexico: Pinxit Mexici, 1700-1790 is part of Pacific Standard Time: LA/LA, a far- reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018. Published in conjunction with exhibition. Exhibition Itinerary: Fomento Cultural Banamex, Mexico City June 28-October 15, 2017 Los Angeles County Museum of Art November 19, 2017-March 18, 2018 Metropolitan Museum of Art, New York April 24-July 22, 2018--Provided by publisher. |
| afro atlantic histories lacma: Betye Saar Betye Saar, Lowery Stokes Sims, 1988 |
| afro atlantic histories lacma: James Turrell Michael Govan, Christine Y. Kim, 2013-01-01 Published in conjunction with the artist's major retrospective exhibition, this comprehensive volume traces James Turrell's artistic practice from his years at the Mendota studio in Santa Monica, California, to his monumental work-in-progress at Roden Crater, an extinct volcano that he has been transforming into a naked-eye observatory since 1975. Whether he's projecting three-dimensional shapes into the corner of a gallery space or creating immersive environments that allow viewers to better understand their own perception, Turrell invites us to go inside and greet the light, evoking the meditative practices of his Quaker upbringing. A critical figure emerging from Los Angeles's exploding art scene of the 1960s, Turrell draws from aviation, psychology, and astronomy in his art. Through ten chapters that survey his various bodies of work, enhanced by thoughtful essays and an illuminating interview with the artist, this monograph explores every aspect of Turrell's oeuvre to date-from his early geometric projections, prints, and drawings, through his installations exploring sensory deprivation and seemingly unmodulated fields of colored light, to recent holographie works. It also features an in-depth look at the Roden Crater Project through models, plans, photographs, and drawings, which reveal the power and beauty of his magnum opus and its surrounding landscape. This publication also features extraordinary images by Florian Holzherr-many of which were specially commissioned and are published here for the first time. |
| afro atlantic histories lacma: Black Male Thelma Golden, Whitney Museum of American Art, Elizabeth Alexander, 1994 |
| afro atlantic histories lacma: Beauford Delaney and James Baldwin Stephen C. Wicks, 2020-07-10 Beauford Delaney and James Baldwin: Through the Unusual Door examines the thirty-eight-year relationship between painter Beauford Delaney (born in Knoxville, 1901; died in Paris, 1979) and writer James Baldwin (born in New York, 1924; died in Saint-Paul-de-Vence, France, 1987) and the ways their ongoing intellectual exchange shaped each other’s creative output and worldview. This full-color publication documents the groundbreaking exhibition organized by the Knoxville Museum of Art (KMA) and is drawn from the KMA’s extensive Delaney holdings, from public and private collections around the country, and from unpublished photographs and papers held by the Knoxville-based estate of Beauford Delaney. This book seeks to identify and disentangle the skein of influences that grew over and around a complex, lifelong relationship with a selection of Delaney’s works that reflects the powerful presence of Baldwin in Delaney’s life. While no other figure in Beauford Delaney’s extensive social orbit approaches James Baldwin in the extent and duration of influence, none of the major exhibitions of Delaney’s work has explored in any depth the creative exchange between the two. The volume also includes essays by Mary Campbell, whose research currently focuses on James Baldwin and Beauford Delaney within the context of the civil rights movement; Glenn Ligon, an internationally acclaimed New York-based artist with intimate knowledge of Baldwin’s writings, Delaney’s art, and American history and society; Levi Prombaum, a curatorial assistant at the Solomon R. Guggenheim Museum who did his doctoral research at University College London on Delaney’s portraits of James Baldwin; and Stephen Wicks, the Knoxville Museum of Art’s Barbara W. and Bernard E. Bernstein Curator, who has guided the KMA’s curatorial department for over 25 years and was instrumental in building the world’s largest and most comprehensive public collection of Beauford Delaney’s art at the KMA. |
| afro atlantic histories lacma: Carrie Mae Weems: Kitchen Table Series , 2022-09-13 In book form, Kitchen Table is more intimate.... Unlike the experience of meandering through a museum, stepping back to appreciate the images and nearing the text panels to skim them, the pace of exploration is now in a person's hands. -Hilary Moss, New York Times This publication is dedicated solely to the early and canonical body of work by American artist Carrie Mae Weems (born 1953). The 20 photographs and 14 text panels that make up Kitchen Table Series tell a story of one woman's life, as conducted in the intimate setting of her kitchen. The kitchen, one of the primary spaces of domesticity and the traditional domain of women, frames her story, revealing to us her relationships--with lovers, children, friends--and her own sense of self, in her varying projections of strength, vulnerability, aloofness, tenderness and solitude. As Weems describes it, this work of art depicts the battle around the family ... monogamy ... and between the sexes.G6 Weems herself is the protagonist of the series, though the woman she depicts is an archetype. Kitchen Table Series seeks to reposition and reimagine the possibility of women and the possibility of people of color, and has to do with, in the artist's words, unrequited love. |
| afro atlantic histories lacma: Inked Joe Dator, 2021-10-19 Joe Dator makes me laugh. Everybody loves to look behind the scenes and his new book shows the secrets, inspirations, heartaches, and triumphs of a life in cartoons. Christopher Guest and I have a collection of original cartoons, and we love our Joe Dator! —Jamie Lee Curtis From inspiration to conception and all the trials in-between. Inked is a collection of cartoons from one of the New Yorker’s most beloved cartoonists. Filled with more than 150 of Dator’s single-panel cartoons, this lively, quick-witted book betrays a deadpan sense of humor. But Inked is more than a book of cartoons. Dator also dives into the creative process, offering bonus commentary on how ideas have come to fruition, how one idea has led to another, and the various attempts to get an idea right. Along the way, he shows how a spark of imagination has turned into a laugh-out-loud moment with only a single image and caption, and how other attempts have found themselves on the cutting-room floor. |
| afro atlantic histories lacma: Theories of Modern Art Herschel Browning Chipp, Herschel B. Chipp, Peter Selz, 1968 |
| afro atlantic histories lacma: Marking Time Nicole R. Fleetwood, 2020-04-28 A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century. |
| afro atlantic histories lacma: Picasso and Rivera Michael Govan, Diana Magaloni, 2016-12-22 Examining the artistic development of Pablo Picasso and Diego Rivera, two towering figures in the world of modern art, this generously illustrated book tells an intriguing story of ambition, competition, and how the ancient world inspired their most important work. Picasso and Rivera: Conversations Across Time explores the artistic dialogue between Pablo Picasso and Diego Rivera that spanned most of their careers. The book showcases nearly 150 iconic paintings, sculptures, and prints by both artists, along with objects from their native ancient Mediterranean and Pre- Columbian worlds. It gives an overview of their early training in national academies; important archaeological discoveries that occurred during their formative years; and their friendly and adversarial relationship in Montparnasse. A series of essays accompanies the exquisitely reproduced works, allowing readers to understand how the work of each artist was informed by artworks from the past. Picasso drew upon Classical art to shape the foundations of 20th-century art, creating images that were at once deeply personal and universal. Meanwhile, Rivera traded the abstractions of European modernism for figuration and references to Mexico’s Pre-Columbian civilization, focusing on public murals that emphasized his love of Mexico and his hopes for its future. Offering valuable insight into the trajectory of each artist, this book draws connections between two powerful figures who transformed modern art. |
| afro atlantic histories lacma: The Life of Animals in Japanese Art Robert T. Singer, Masatomo Kawai, 2019-05-21 A sweeping exploration of animals in Japanese art and culture across sixteen centuries Few countries have devoted as much artistic energy to the depiction of animal life as Japan. Drawing upon the country’s unique spiritual heritage, rich literary traditions, and currents in popular culture, Japanese artists have long expressed admiration for animals in sculpture, painting, lacquerwork, ceramics, metalwork, textiles, and woodblock prints. Real and fantastic creatures are meticulously and beautifully rendered, often with humor and whimsy. This beautiful book celebrates this diverse range of work, from ancient fifth-century clay sculpture to contemporary pieces. The catalog is organized into themes, including the twelve animals of the Japanese zodiac; animals in Shinto and Buddhism; animals and samurai; land animals, winged creatures, and creatures of the river and sea; and animals in works of humor and parody. Contributors address such issues as how animals are represented in Japanese folklore, myth, religion, poetry, literature, and drama; the practice of Japanese painting; and the relationship between Japanese painters and scientific study. Featuring some 300 masterpieces from public and private collections, many published for the first time, The Life of Animals in Japanese Art is a sumptuous celebration of the connections between the natural world and visual and creative expression. Published in association with the National Gallery of Art, Washington, DC Exhibition Schedule National Gallery of Art, Washington, DC May 5–July 28, 2019 Los Angeles County Museum of Art September 8–December 8, 2019 |
| afro atlantic histories lacma: Relational Undercurrents Tatiana Flores, Michelle Ann Stephens, 2017 Relational Undercurrents accompanies an exhibition by the same name that opens at the Museum of Latin American Art in Long Beach, California in September, 2017. The exhibition and edited volume call attention to the artistic production of the Caribbean islands and their diasporas, challenging the conventional geographic and conceptual boundaries of Latin America. |
| afro atlantic histories lacma: Robbert Flick Robbert Flick, Michael J. Dear, David L. Ulin, Tim B. Wride, Los Angeles County Museum of Art, 2004 Koproduktion mit dem Los Angeles County Museum of Art, Los Angeles |
| afro atlantic histories lacma: Todd Gray Rebecca McGrew, 2019 (From table of contents)Foreword /Kathleen Stewart Howe --Introduction:Time and space--the work of Todd Gray /Rebecca McGrew and Hannah Grossman --Todd Gray: composite stranger /Nana Adusei-Poku --Conversation with Todd Gray /Carrie Mae Weems --Relocating the fragments: the kaleidoscopic vision of Todd Gray /M. Neelika Jayawardane --Image plates --Artist's biography /Todd Gray --Longing on a large scale /Nana Adusei-Poku --Exhibition checklist --Contributors' biographies. |
| afro atlantic histories lacma: Henry Moore in America Henry J. Seldis, Henry Moore, 1973 Book on Henry Moore in America |
| afro atlantic histories lacma: A People's Guide to Los Angeles Laura Pulido, Laura R. Barraclough, Wendy Cheng, 2012-04-23 A People’s Guide to Los Angeles offers an assortment of eye-opening alternatives to L.A.’s usual tourist destinations. It documents 115 little-known sites in the City of Angels where struggles related to race, class, gender, and sexuality have occurred. They introduce us to people and events usually ignored by mainstream media and, in the process, create a fresh history of Los Angeles. Roughly dividing the city into six regions—North Los Angeles, the Eastside and San Gabriel Valley, South Los Angeles, Long Beach and the Harbor, the Westside, and the San Fernando Valley—this illuminating guide shows how power operates in the shaping of places, and how it remains embedded in the landscape. |
| afro atlantic histories lacma: Child of the Civil Rights Movement Paula Young Shelton, 2013-07-23 In this Bank Street College of Education Best Children's Book of the Year, Paula Young Shelton, daughter of Civil Rights activist Andrew Young, brings a child’s unique perspective to an important chapter in America’s history. Paula grew up in the deep south, in a world where whites had and blacks did not. With an activist father and a community of leaders surrounding her, including Uncle Martin (Martin Luther King), Paula watched and listened to the struggles, eventually joining with her family—and thousands of others—in the historic march from Selma to Montgomery. Poignant, moving, and hopeful, this is an intimate look at the birth of the Civil Rights Movement. |
| afro atlantic histories lacma: Vision and Justice Aperture, 2016-04-26 The Magazine of Photography and Ideas. As the United States navigates a political moment defined by the close of the Obama era and the rise of #BlackLivesMatter activism, Aperture magazine releases Vision & Justice, a special issue guest edited by Sarah Lewis, the distinguished author and art historian, addressing the role of photography in the African American experience. Vision & Justice includes a wide span of photographic projects by such luminaries as Lyle Ashton Harris, Annie Leibovitz, Sally Mann, Jamel Shabazz, Lorna Simpson, Carrie Mae Weems and Deborah Willis, as well as the brilliant voices of an emerging generation―Devin Allen, Awol Erizku, LaToya Ruby Frazier, Deana Lawson and Hank Willis Thomas, among many others. These portfolios are complemented by essays from some of the most influential voices in American culture including contributions by celebrated writers, historians, and artists such as Vince Aletti, Teju Cole, Henry Louis Gates, Jr., Margo Jefferson, Wynton Marsalis and Claudia Rankine. Vision and Justice features two covers. This issue comes with an image by Richard Avedon, Martin Luther King, Jr., civil rights leader, with his father, Martin Luther King, Baptist minister, and his son, Martin Luther King III, Atlanta, Georgia, March 22, 1963. |
| afro atlantic histories lacma: The Allure of Matter Wu Hung, Orianna Cacchione, 2019 This publication was produced by the Smart Museum of Art, The University of Chicago, on the occasion of the exhibition The Allure of Matter: Material Art from China, curated by Wu Hung with Orianna Cacchione. |
| afro atlantic histories lacma: Robert Irwin Matthew Thomas Simms, 2016 A comprehensive study of one of the most significant and prolific American postwar artists. Frequently associated with California Light and Space Art, Robert Irwin (b. 1928) began as an abstract painter in the 1950s. Since that time, he has worked in architectural and outdoor interventions, developing and expanding what he terms a conditional art practice. He employs a wide range of media, such as scrim veils, chain link fencing, Cor-ten walls, flowering plants, palm trees, fluorescent light bulbs, and more. Ultimately, Irwin's medium is none of these specific materials, but rather perception itself - its forms, limits, and possibilities for expansion and change. In the artist's own words, the aim of his work is to change the whole visual structure of how you look at the world. This handsome, richly illustrated volume is the first book devoted to an in-depth investigation of the entirety of Irwin's career, tracing the development of Irwin's ambitions from his earliest canvases to his most recent light installations. Drawing on a wealth of primary sources, including the artist's library and his published and unpublished writings, Matthew Simms surveys the full scope of Irwin's creative output, the reception of his work, and its multiple aesthetic and historical contexts. In the resulting thorough yet accessible account, essential for scholars of post-war American art, conditional art emerges as a continual source of renewed aesthetic perception. |
| afro atlantic histories lacma: Emma Amos Shawnya Harris, 2021 Born in Atlanta, Georgia, Emma Amos (1937-2020) was a distinguished painter and printmaker. She is best known for her bold and colorful mixed-media paintings that create visual tapestries in which she examines the intersection of race, class, gender and privilege in both the art world and society at large. This survey exhibition and catalogue, published and organized by the Georgia Museum of Art, include approximately 60 works from the beginnings of her career to the end of it, reflecting her experiences as a painter, printmaker, and weaver. Her large-scale canvases often incorporate African fabrics and semiautobiographical content, which are drawn from her personal odyssey as an artist, her interest in icons in art and world history and her sometimes tenuous engagement with these themes as a woman of color-- |
| afro atlantic histories lacma: Initiated Amanda Yates Garcia, 2019-10-22 Smoke Gets in Your Eyes meets Women Who Run With The Wolves in this gorgeously written, fierce, political, personal, and deeply inspiring (Michelle Tea) memoir about finding meaning, beauty, and power through a life in witchcraft. An initiation signals a beginning: a door opens and you step through. Traditional Wiccan initiates are usually brought into the craft through a ceremony with a High Priestess. But even though Amanda Yates Garcia's mother, a practicing witch herself, initiated her into the earth-centered practice of witchcraft when she was 13 years old, Amanda's real life as a witch only began when she underwent a series of spontaneous initiations of her own. Descending into the underworlds of poverty, sex work, and misogyny, Initiated describes Amanda's journey to return to her body, harness her power, and create the magical world she longed for through witchcraft. Hailed by crows, seduced by magicians, and haunted by ancestors broken beneath the wheels of patriarchy, Amanda's quest for self-discovery and empowerment is a deep exploration of a modern witch's trials - healing ancient wounds, chafing against cultural expectations, creating intimacy - all while on a mission to re-enchant the world. Peppered with mythology, tales of the goddesses and magical women throughout history, Initiated stands squarely at the intersection of witchcraft and feminism. With generosity and heart, this book speaks to the question: is it possible to live a life of beauty and integrity in a world that feels like it's dying? Declaring oneself a witch and practicing magic has everything to do with claiming authority and power for oneself, of taking back our planet in the name of Love. Initiated is both memoir and manifesto calling the magical people of the world to take up their wands: stand up, be brave, describe the world they want, then create it like a witch. |
| afro atlantic histories lacma: Contemporary African Art Since 1980 Okwui Enwezor, Chika Okeke-Agulu, 2009 [S]urvey of the work of contemporary African artists from diverse situations, locations, and generations who work either in or outside of Africa, but whose practices engage and occupy the social and cultural complexities of the continent since the past 30 years.... Organized in chronological order, the book covers all major artistic mediums: painting, sculpture, photography, film, video, installation, drawing, collage.... Presents examples of ... work by more than 160 African artists.... [I]ncludes Georges Adeagbo Tayo Adenaike, Ghada Amer, El Anatsui, Kader Attia, Luis Basto, Candice Breitz, Moustapha Dimé, Marlene Dumas, Victor Ekpuk, Samuel Fosso, Jak Katarikawe, William Kentridge, Rachid Koraichi, Mona Mazouk, Julie Mehretu, Nandipha Mntambo, Hassan Musa, Donald Odita, Iba Ndiaye, Richard Onyango, Ibrahim El Salahi, Issa Samb, Cheri Samba, Ousmane Sembene, Yinka Shonibare, Barthelemy Toguo, Obiora Udechukwu, and Sue Williamson.--From publisher description.. |
| afro atlantic histories lacma: Made in L.A. 2016 Aram Moshayedi, 2016 Each iteration of Made in L.A. sheds new light on the creative work of artists based in Los Angeles, expanding on the work of its predecessors and forging new relationships with the city's diverse artistic communities. 'Made in L.A. 2016: a, the, though, only' continues in this vein and investigates what is vital and distinctive about Los Angeles as an international destination and cutting-edge art center and how its artists--from vastly different backgrounds and disciplines--resist and defy categorization--Foreword. |
| afro atlantic histories lacma: Biddy Mason Speaks Up Arisa White, Laura Atkins, 2019 Presents the life of a California ex-slave, nurse, and midwife, who started many philanthropic projects. |
| afro atlantic histories lacma: Contested Visions in the Spanish Colonial World Ilona Katzew, Los Angeles County Museum of Art, Museo Nacional de Historia (Mexico), 2011 An absorbing discussion of the myriad depictions of the indigenous people of Mexico and Peru in colonial times |
| afro atlantic histories lacma: Soul of a Nation Mark Benjamin Godfrey, Zoé Whitley, 2017 Published on the occasion of an exhibition of the same name held at Tate Modern, London, July 12-October 22, 2017; Crystal Bridges Museum of American Art, Bentonville, Arkansas, February 3-April 23, 2018; and Brooklyn Museum, New York, September 7, 2018-February 3, 2019. |
| afro atlantic histories lacma: A Report on the Art and Technology Program of the Los Angeles County Museum of Art, 1967-1971 Los Angeles County Museum of Art. Art and Technology Program, Maurice Tuchman, 1971 |
| afro atlantic histories lacma: Kim Abeles Nicholas and Lee Begovich Gallery, Kim Abeles, Jennifer Frias, William Fox, Karen Moss, 2021-09 Kim Abeles: Smog Collectors, 1987-2020, features over thirty years of Abeles' artistic investigation related to the environment and her innovative method of producing images on various surfaces made solely by particulate matter from air pollution. Smog Collectors examines decades of scientific data collected by the artist and its unexpected visual presentation that prompts the viewer to reconsider the air we breathe. Abeles' art explores the harmful effects of smog and has received national and international acclaim, most notably in the series entitled, the Presidential Commemorative Smog Plates (1992). This body of work draws attention to US Presidents, from William McKinley to George Bush, and their varying policies associated with the environment. Abeles continues to explore the effects of smog utilizing narratives related to domestic spaces, the earth, and the human body. |
Afro - Wikipedia
Musician Billy Preston with an afro in 1974. The afro is a hair style created by combing out natural growth of afro-textured hair, or specifically styled with chemical curling products by individuals …
How to Grow an Afro with African American Hair - wikiHow
Feb 24, 2025 · If you have African American hair, you can grow an Afro with a little patience and some good hair care knowledge. Traditional combs and brushes can damage curly hair, so …
36 Afro Hairstyles That Embrace Your Natural Texture - Byrdie
Nov 13, 2023 · Afro hairstyles look lovely at all lengths and are a great way to show off your natural texture. Inside, find 36 Afro hairstyles to inspire you.
The History of the Afro and The Natural Hair Movement
Feb 17, 2020 · Learn the history of the afro, why the Black is beautiful movement of the '60s started, and how the natural hair movement of today is continuing the legacy.
25 Afro Hairstyles We Love, Plus Styling Tips - All Things Hair
Nov 13, 2023 · Discover the most iconic afro hairstyles to show off your natural hair and the best styling tips for these looks.
The History of the Afro - Ebony
Mar 2, 2017 · With political activists such as Angela Davis, Huey P. Newton and Jesse Jackson proudly rocking Afros while fighting oppression, the hairstyle quickly emerged as a symbol for …
The Evolution Of The Afro From The 1960s To Today
Nov 13, 2022 · Today, we Black people are celebrated for our intricate braiding techniques, dance moves, poetic speech, singing voices, political and athletic capabilities, fashion, and so much …
Why the Afro is More Than Just a Hairstyle for Black People
Apr 15, 2025 · The Afro is more than just a hairstyle; it is a cultural symbol that represents pride, identity, and resistance. For Black people, the Afro is not just an aesthetic choice—it is a …
Different types of afros - SISHAIR
From classic shapes to modern adaptations, afros continue to evolve while holding steadfast as a symbol of individuality and confidence. In this article, we’ll explore different types of afros, …
Afro - Simple English Wikipedia, the free encyclopedia
An afro can be any length, short or long, but it is different for everyone, especially depending on the person's race and ethnicity. Europeans and Asians will tend to have wavier, looser curls, …
Afro - Wikipedia
Musician Billy Preston with an afro in 1974. The afro is a hair style created by combing out natural growth of afro-textured hair, or specifically styled with chemical curling products by individuals …
How to Grow an Afro with African American Hair - wikiHow
Feb 24, 2025 · If you have African American hair, you can grow an Afro with a little patience and some good hair care knowledge. Traditional combs and brushes can damage curly hair, so …
36 Afro Hairstyles That Embrace Your Natural Texture - Byrdie
Nov 13, 2023 · Afro hairstyles look lovely at all lengths and are a great way to show off your natural texture. Inside, find 36 Afro hairstyles to inspire you.
The History of the Afro and The Natural Hair Movement
Feb 17, 2020 · Learn the history of the afro, why the Black is beautiful movement of the '60s started, and how the natural hair movement of today is continuing the legacy.
25 Afro Hairstyles We Love, Plus Styling Tips - All Things Hair
Nov 13, 2023 · Discover the most iconic afro hairstyles to show off your natural hair and the best styling tips for these looks.
The History of the Afro - Ebony
Mar 2, 2017 · With political activists such as Angela Davis, Huey P. Newton and Jesse Jackson proudly rocking Afros while fighting oppression, the hairstyle quickly emerged as a symbol for …
The Evolution Of The Afro From The 1960s To Today
Nov 13, 2022 · Today, we Black people are celebrated for our intricate braiding techniques, dance moves, poetic speech, singing voices, political and athletic capabilities, fashion, and so much …
Why the Afro is More Than Just a Hairstyle for Black People
Apr 15, 2025 · The Afro is more than just a hairstyle; it is a cultural symbol that represents pride, identity, and resistance. For Black people, the Afro is not just an aesthetic choice—it is a …
Different types of afros - SISHAIR
From classic shapes to modern adaptations, afros continue to evolve while holding steadfast as a symbol of individuality and confidence. In this article, we’ll explore different types of afros, …
Afro - Simple English Wikipedia, the free encyclopedia
An afro can be any length, short or long, but it is different for everyone, especially depending on the person's race and ethnicity. Europeans and Asians will tend to have wavier, looser curls, …
