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"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 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]

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]

But you know, even back in London in the early to mid-sixties, once I was sure of my calling, that I was an artist, that I had something to contribute, then I was striving to "sharpen my art", if you like, by taking on aspects of the prevailing trends in painting like color field and hard-edge painting. Did it make sense to you that color field painting, a movement associated primarily with white artists, would be a space to explore the ramifications of race in art making? I'm not sure that my art was affected by what was going on, I don't see my paintings as expressive of any positions except that of engagement with certain aspects of the recent histories of American painting. Like my previous attempts to get to grips with painting techniques at Royal College of Art, I felt that color field painting and hard-edge painting were making strong demands on the artist - I wanted to do it, I wanted to be good at it. [Extracted from the article]

The article discusses survey and group exhibitions of black art in Great Britain and the U.S. The author reflects on exhibitions such as "Soul of a Nation: Art in the Age of Black Power" at Tate Modern to discuss topics including the work of African-American artists in the 1960s, the political aspects of exhibitions, and the book "Roots & Culture: Cultural Politics in the Making of Black Britain" by Eddie Chambers.

AUCTIONS Previews March 31 Swann Auction Galleries 104 E. 25th Street New York, NY 10010 t: (212) 254-4710 www.swanngalleries.com After a record-breaking African American Art sale at Swann Auction Galleries in October 2021, representatives are beyond excited to see what the new year brings for their March 31 auction of the same category. Freeman also notes that he's excited to keep building on Young's market, as they've already seen a record sale for a large piece in their October 2019 sale, totaling at $233,000. "The market has been incredibly strong, and continues to grow despite the turmoil and difficulty of the last couple years", says Nigel Freeman, director of African American art. "Our market has been very robust, with our last two sales being some of our best. [Extracted from the article]

A literary criticism of the book "Mounting Frustration: The Art Museum in the Age of Black Power" by Susan E. Cahan is presented. It examines how Cahan has persuasively established that U.S. art museums have done a poor job in representing African American artists, other artists of color and women, mainly because major art institutions are mostly dependent on the ruling class that finance them. It also looks at the examples of art exhibitions that lack diversity discussed by Cahan in her book.

The article reports that Harlem remains one of the most celebrated sections of New York City. Harlem is located in the uppermost section of the New York island borough of Manhattan. Black leaders, including W.E.B. Du Bois and Marcus Garvey, often spoke to large audiences in Harlem about the problems black people faced in America and the need for black people to be proud of themselves and other black people's accomplishments. At the same time, black artists were beginning to think deeply about how black people could create literature, art and music that acknowledged their place in American culture but still reflected their black, Southern or even African roots.

The article features John Rosamond Johnson, the first African American musician to conduct an all-white orchestra in New York City. It highlights Johnson's contribution in the music industry, particularly in Jacksonville, Florida. It also highlights the National Association for the Advancement of Colored People (NAACP) Freedom March.

The author speaks of her efforts in establishing a website for contemporary black artists. She explains that there has been a lack of online coverage of black artists. She says that she has established a blog and other social media sites to bring attention to these artists. The author also discusses her efforts in establishing a connection with artists that is incomparable to a critic or a conventional curator.

This article features information about A Gathering of Tribes, a community-oriented organization for Black artists and poets founded by Steve Cannon. Included is a history of the events which led to the formation of the organization, the achievements of the organization, and reflections shared by Cannon about his organization.

Reports on developments concerning black artists as of March 3, 1997. Speculations on an affair between boxer Lennox Lewis and Mel B.; Diana Ross' comments on music performer Jay Kay; Naomi Campbell's participation at the London Fashion Week.

Focuses on developments concerning black artists for the week ending December 30, 1996. Includes music performer T-Boz's admittance that she suffers from sickle-cell anemia; Former boxer Frank Bruno's starring in `Jack and the Beanstalk.'