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Vinson Cunningham's novel, "Great Expectations," explores the coming-of-age of an artist named David Hammond, who works on Barack Obama's presidential campaign. While the novel is set against the backdrop of the campaign, it primarily focuses on Hammond's intellectual and spiritual development, his musings on God, and his aspirations to become a writer. The book delves into themes of faith, destiny, and the power of language, and offers a unique perspective on Black life, relationships, and the internal world of a burgeoning Black artist. "Great Expectations" is an innovative and distinctive novel that challenges the representation of Black narratives in the publishing industry. [Extracted from the article]

The article discusses the erasure of Black women from the history of country music and highlights Beyoncé as the heir to a Black country musical tradition. It mentions the contributions of Black women like Lil Hardin Armstrong and DeFord Bailey to the genre. The author argues that Beyoncé's success in country music challenges the notion of who can be considered a real American and raises questions about the debt that country music owes to Black culture. The article also mentions other Black women artists who have contributed to the genre. [Extracted from the article]

Any claim that the former slave "Europeanized" his features in his self-portrait runs the risk of positioning the master Velázquez, the more celebrated painter by far, as the authority on Pareja's appearance, rather than Pareja himself. In 1970, Velázquez's portrait of Pareja broke art world records as the first painting to sell for over £1 million. Several major examples of his work appear in the Met's exhibition alongside paintings attributed to Velázquez, many of which reflect Pareja's contributions to the Old Master's output. Scholars writing as far back as 1888, comparing Velázquez's painting and Pareja's self-portrait, have suggested that in the latter, the former slave's features appear more European - the nose and lips narrower, the skin tone lighter. [Extracted from the article]

Danzy Senna's novel, "Colored Television," follows the story of Jane, a biracial writer-professor who is struggling to write a biracial comedy that defies stereotypes. Jane's personal life is chaotic, with a neurodivergent son, a daughter facing difficulties at school, and a distant husband. The novel explores the challenges of creating a "Great American Biracial Novel" and questions the need for a definitive biracial identity in a society that is increasingly diverse and complex. Senna's satire critiques identity politics, Hollywood's racial profiteering, the American literary canon, academia, and progressive public. Ultimately, the novel suggests that finding a tidy new biracial identity is a futile exercise, but it ends on a hopeful note for Jane and her family. [Extracted from the article]

This section presents an interview with Canadian photographer Sandra Brewster. Topics discussed include the creation of her portrait photography project "Blur," her inspiration for the photography series "Take a little trip," the increasing recognition being received by Black artists in Toronto, Ontario, and her depiction of the Black community in her artworks.

"The Harlem Renaissance and Transatlantic Modernism" is an exhibition at the Metropolitan Museum of Art that explores the cultural impact of the Harlem Renaissance beyond Harlem itself. The exhibition showcases the work of Black American artists who were influenced by European modernists and highlights the contributions of Black artists to world culture. The exhibition includes paintings, sculptures, photographs, film clips, and objects from artists of the African diaspora. The article discusses the significance of portraiture in the context of the Harlem Renaissance and the representation of Black individuals in art. It highlights the diversity of portraits on display, ranging from large and sophisticated works to small and blunt ones. The article also explores how portraiture served as a means of correction to the canon and offered proof of the varied beauty and character of Black individuals. Additionally, it touches on the importance of physical appearance in Black life and the complexities of color and identity. The article concludes by emphasizing the significance of the exhibition in showcasing the achievements of Black artists during the Harlem Renaissance. [Extracted from the article]

The article titled "Up Close" by Dennis McFarland is a fictional story that follows the life of Jacob Carson, a teacher who attends a musical written by Carla Abdala-Diggs, the daughter of a famous painter named Mason Diggs. Jacob reflects on his own artistic career and contemplates reaching out to Diggs. Later, Jacob's wife inherits a painting by Diggs, which surprises him. The story explores themes of inspiration, artistic success, and personal identity. In a conversation between Jacob and Mason, they discuss their relationship and Mason's recent diagnosis of prostate cancer. Jacob expresses regret for not being more supportive of Mason's success as an artist, and Mason asks Jacob to paint his portrait. The story also includes reflections from Jacob's wife, Linda, who offers support to Jacob. [Extracted from the article]

The Essence Festival of Culture, held annually in New Orleans, is a celebration of Black music and heritage. The festival was created in 1995 as an extension of the Essence magazine and has since become a global phenomenon. It provides a platform for diverse genres of Black music, including jazz, gospel, Mardi Gras Indian music, and bounce music. The festival has showcased both established and emerging Black artists, and its impact on the trajectory of Black music and culture has been significant. As the festival approaches its 30th anniversary, it continues to celebrate the richness of Black creativity and shape the cultural landscape. [Extracted from the article]

The article focuses on the notable individuals who passed away in 2023 and their significant contributions. Topics include Richard Roundtree's pioneering role as a Black action hero, Lorenzo "Lo" Jelks' groundbreaking career as Atlanta's first Black TV reporter, and Hughes Van Ellis' efforts to seek justice as a survivor of the Tulsa Race Massacre.

Two early twenty-first century ensembles of color in Seattle—and their methods—anchor this article. The first: sis Productions, which started in 2000 as "Sex in Seattle," an episodic and humorous theatrical series about the romantic relationships of Asian American women. Conceived of by theater artists Kathy Hsieh, Moi, Serin Ngai, and Amy Villarama Waschke, sis developed brainstorming and scripting methods to collectively storytell at Theatre Off Jackson, Annex Theatre, Nippon Kan Theatre, Center House Theatre, Bathhouse Theatre, and Hugo House, and other venues across Seattle. The second: the Black Collectivity Project, a movement-based ensemble led by Nia-Amina Minor, David Rue, marco farroni, and Akoiya Harris, which conducted historical research about the lives and movements of twentieth century Seattle-based Black artists, including dancer Syvilla Fort, and staged their embodied histories via workshops and productions at 12th Avenue Arts, On the Boards, and other Seattle venues. Through an ethnographic and archival approach, Jasmine Mahmoud argues that both ensembles created specific methods to unearth and represent stories in exceptionally unexpected ways that formally emancipated how minoritized people and their histories are portrayed. [ABSTRACT FROM AUTHOR]

The article discusses the Harlem Renaissance, a cultural movement that took place in the United States between the 1920s and '40s. It highlights the emergence of Black arts in cities like Harlem and Chicago, where artists sought to depict their communities as modern and engaged in a modern culture. The movement was not limited to art, as it was also supported by intellectuals and writers who sought to express their individuality and challenge racial stereotypes. The article explores how Black American subjects were portrayed in paintings during this period, with some artists adopting the influences of the European avant-garde while others drew inspiration from African and Egyptian aesthetics. The article also discusses the significance of realist portraits of Black subjects and the institutional interest in Primitivism during the 1930s and '40s. The exhibition at The Met showcases the art of the Harlem Renaissance and its connection to transatlantic modernism. [Extracted from the article]

Kaabo Clay Collective is a network and support system for Black ceramic artists across the diaspora. Founded by Nigerian-American ceramic artist Osa Atoe, the collective aims to empower its members and connect artists from California to Lagos, Nigeria. Kaabo provides mutual aid, knowledge sharing, and financial support to its members, removing barriers and creating opportunities. It started as a chat group on Discord and has now transitioned into a website with a private discussion forum and online directory. The collective is a beacon of hope in the field of ceramics, offering scholarships, mentorship, and opportunities for Black ceramic artists. [Extracted from the article]

Lauren Halsey, a 36-year-old artist from South Central Los Angeles, has gained global recognition for her local-focused approach to art. Her studio is a vibrant space filled with her imaginative creations, reflecting the texture and intimate thrills of life in South Central LA. Halsey's art draws inspiration from her neighborhood, incorporating specific details and memories to create a unique and colorful urban fantasy. While her work has gained international acclaim, Halsey remains committed to her local community and aims to preserve the integrity of her art. [Extracted from the article]

Alicia Keys and Kasseem "Swizz Beatz" Dean, a power couple in the music industry, have been influential collectors of black art for many years. They have recently curated a major exhibition at the Brooklyn Museum called "Giants: Art From the Dean Collection of Swizz Beatz and Alicia Keys," showcasing nearly 100 artworks from their personal collection. The couple has built strong relationships with the artists they collect, allowing them access to works that would otherwise be reserved for top collectors. Their collection focuses on black artists, particularly black figurative artists, and has played a role in correcting the art market's historical neglect of these artists. [Extracted from the article]

This article features a collective photo essay that explores the process of artistic development and the challenges and supports that artists encounter. The essay includes reflections from five early- to mid-career artists, highlighting common themes such as space, experimentation, and community, while also showcasing their unique experiences. The artists discussed include Ankita Alemona, Rachana Joshi, Abbey Richens, Chenise Mitchell, and Brigita Gedgaudas. Each artist shares their personal journey and the factors that have nurtured their artistic growth, ranging from rest and study to community and cultural heritage. [Extracted from the article]

This article highlights the life and work of Charles Farrar, a woodturner based in South Hill, Virginia. Charles discovered his passion for woodturning later in life, despite facing racial discrimination and having a corporate career. His pieces are known for their refined forms, movement, and flow, often incorporating carving and surface embellishment. Charles' work ranges from classical and elegant to dynamic and dramatic, showcasing his diverse interests and stylistic variations. He has been recognized and exhibited in galleries and has played a significant role in the African American arts scene in Charlotte, North Carolina. The article also explores the intersection of race, spirituality, and religion in Charles' work, as he believes it is important to recognize the African roots of woodturning and expresses his African American identity through his art. Despite experiencing racism, Charles maintains a positive and inclusive outlook on life and is involved in racial healing and reconciliation programs. [Extracted from the article]

The Goat Farm Arts Center in Atlanta has recently undergone a $250 million renovation, expanding its size and creating new opportunities for artists. The center, which originally opened in 2010, provides artist studios, performance venues, and gallery spaces, all funded by real estate revenue. The renovation project includes the addition of 209 apartments, with 32 designated as workforce housing. The Goat Farm aims to create a sustainable funding model for the arts by reinventing the arts funding landscape through real estate. The center's redevelopment has been met with excitement from both artists and the community. [Extracted from the article]

The article discusses the prominent role of Black women in leading cultural institutions in Harlem. It highlights women such as Thelma Golden, the director and chief curator of The Studio Museum in Harlem, who has championed Black artists and overseen the construction of a new home for the museum. Other women mentioned include Kamilah Forbes, the executive producer of the Apollo Theater, Anna Glass, the executive director of Dance Theatre of Harlem, Tracy Hyter-Suffern, the executive director of the National Jazz Museum in Harlem, Patricia Cruz, the CEO and artistic director of Harlem Stage, and Joy Bivins, the director of the Schomburg Center for Research in Black Culture. Sade Lythcott, the CEO of the National Black Theatre, is also highlighted for continuing her mother's legacy and leading the theater through a renovation. These women are focused on preserving Black history and building a future for Harlem's cultural institutions. [Extracted from the article]

Eriq La Salle, known for his acting career in shows like ER, has also become a successful author of thriller novels. La Salle faced challenges in both Hollywood and the publishing industry, as a Black man trying to break into predominantly White spaces. Despite these obstacles, La Salle's books have received acclaim, and he believes that his unique perspective as a Black author adds value to his storytelling. He hopes to be recognized as an artist who happens to be Black, rather than solely as an African American author. [Extracted from the article]

The article reviews the exhibition "Clay Holds Water, Water Holds Memory" at the Contemporary Arts Center in Cincinnati, Ohio, from March 15–18, 2023, highlighting the diverse representation of Black women and non-binary artists.

The article focuses on OYA Studio, a ceramics residency fostering radical equity for Black artists. It highlights "The Cookout," a transformative wood-fire residency that unites fourteen Black ceramic artists over Juneteenth, emphasizing the communal wood-firing experience. It also highlights OYA's mission, the unique dynamics of an all-Black firing cohort, and the significance of cross-generational connections among Black ceramic artists.

The article focuses on "Lift: Solos for Horn by Black Composers," which was inspired by the students at the Duke Ellington School of the Arts and commissioned music for horn and piano by Black composers and artists including Jasmine Barnes, Joel Collier and Mary D. Watkins. Topics include the background and motivations behind the project, the diverse representation of composers from Canada, Nigeria, the UK, and the US, and the significance of filling the gaps in the horn repertoire.

The article discusses an upcoming exhibition at the Bruce Silverstein Gallery in New York City featuring the photographs of Ray Francis. Francis was a photographer and educator who played a significant role in the formation of The Kamoinge Workshop, a collective of Black photographers. The exhibition showcases over thirty vintage prints taken between 1950-90, exploring the role of photography in creating a new black visual culture during a time of activism and the fight for equality. Francis's work challenges the monolithic canon of Western Art History and highlights the multidimensional qualities of the black artistic experience. [Extracted from the article]

The Black Music Coalition (BMC) has announced its 2024 Excellence Honourees, recognizing Black music professionals who have excelled in the industry. The honourees include Brenda Juliet, Joel Borquaye, Jusnah Gadi, Tia Lewis, Rami Kadri, and others. The BMC aims to address anti-Black systemic racism in the industry and uplift and celebrate members of the Black music community. The honourees have been recognized for their professionalism and contributions to the industry, and they hope to inspire and encourage more diversity and inclusion in the music industry. The article features interviews with three individuals in the music industry who discuss their experiences and perspectives. Brenda Juliet, co-founder and publicist of MyBlaqBook, emphasizes the importance of supporting talent and amplifying awareness of artists. Joel Borquaye, founder and MD of Young Music Boss, highlights the need for recognition of those working behind the scenes in music. Jusnah Gadi, founder and MD of Young Music Boss and YMB Awards, discusses the lack of recognition for industry professionals and the need for real and lasting structural change in the music industry. [Extracted from the article]

The article focuses on Ben Platt's embrace of folk-roots music for his new album, Honeymind, challenging the genre's traditional heteronormative boundaries. Topics include his quiet defiance as an openly queer artist in this space, symbolized by the album cover's imagery, and how his personal experiences, including buying a home with fiancé Noah Galvin, influenced the album's themes of love and longing.

Margareth Menezes, a prominent Afro-Brazilian musician and performer, discusses her European tour and her new role as Brazil's Minister of Culture. Menezes rose to fame in the 1980s with her samba-reggae music and has since released multiple albums and embarked on international tours. She faced challenges as a Black woman in the music industry, leading her to establish her own record label. Menezes also founded a non-governmental organization focused on social and cultural initiatives in disadvantaged areas of Salvador. As Minister of Culture, she aims to rebuild the Ministry and support cultural diversity and inclusion in Brazil. [Extracted from the article]