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The article focuses on the concept of abolition as a dynamic process of envisioning and creating a future free from oppressive systems. Topics include the transformation of carceral geographies into spaces of care and mutuality, the importance of place-based movements alongside broader movements, and the role of feminist refusal in resisting colonial racial capitalism.

This essay takes Kevin Quashie's formulation of a black world as the summons and seeding of my engagement with Barry Jenkins's filmic adaptation of James Baldwin's If Beale Street Could Talk to speculate upon how a black world might be rendered in visual, multimedia, and cinematic arts. To do so, I reckon with the inherent dangers of black visuality, and of black publicness, within a carceral landscape saturated by ever more invasive, data-driven biometric technologies of surveillance and penal capture. My critical engagement with Jenkins attends to how his evasive and deconstructive cinematic experiments enact a mode of black poesis in line with Quashie's formulation of a black world in poetry. In so doing, they undermine the constancy (and presumed transparency) of black visuality, along with its affiliated perils in a racist carceral society. Ultimately, this essay theorizes how black visual arts innovate expressive techniques, within a visual field structured by the antiblack semiotics of epidermalization and spectacularization, to render our world in everyday, living black splendor. [ABSTRACT FROM AUTHOR]

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Identity Postmodern art became art to deconstruct the hidden ideologies of the discourse of power for socio-political purposes, such as the struggle against the masterpieces of art, against heroism, against gender discrimination and racism. In this period, a broad effort was done to address social issues and problems concerning inequalities related to class, race, gender, and ethnicity and... to people involved with these issues. This critical content chose different ways of expressing itself; from a realistic presentation to a copy, an eclectic work, ironic references and "Appropriation" works of art that at first glance is accompanied by humor and parody. Appropriation means using or adapting preexisting works of art and borrowing them to create a new work. At this time Appropriation for a specific purpose was an action that could not be avoided in the postmodern-centered state of contemporary art. The 1960s saw the emergence of a process that allowed artists to adapt and self-create other artists' works without modification or by slightly modifying or inserting parts of other people's artwork into their own, with the goal of substituting their own voice for another voice, thus opening a new meaning instead of the previous one. Since then, art of Appropriation has peaked in the 1980s, and today the widespread use of image capture in the creation of works of art has become commonplace. The contemporary era seems to have introduced artists to the world who were eager to reinterpret and re-represent these paintings in order to expose lesser-represented cultures and elevate excluded minorities to the center of discourse. Since the late nineteenth century, African American artists, with a return to the historical past and the use of black heroes and their epic and revolutionary ideas, and under the influence of political and social events, with their works of art to fight against racial colonialism. And painted a bright future for the black nation. But today's art is different from what we know as black art in the second half of the nineteenth century and the first half of the twentieth century. This study, in order to answer the question of the role of images in deconstructing aesthetics and deconstructing the power structure, focuses on postmodern art and critically analyzes the works of African American artists on the subject of "Appropriation" of famous works of art history. Consequently, among the goals of artists in this way of representation is to focus on excluded minorities, to emphasize the fine arts as something beyond nationality and race, to create a counter-narrative, to deconstruct the power structure, to empower blacks in culture. This research is based on descriptive-analytical method, and data collection is desk-based. [ABSTRACT FROM AUTHOR]

Dr Omar Kholeif maps out the life and practice of the path-breaking British-artist, Lubaina Himid RA CBE (born, Zanzibar 1954) through a considered engagement of her multivalent creative output—in visual art, writing, and exhibition-making. A leading figure in the British Black Arts Movement, Himid is renowned for her narrative paintings, which interrogate historical representations of Black people's creativity—from the eighteenth century to the present day. Painted canvasses, cut-out figures, drawers, and found carts find home in exhibitions that reveal the artist's engagement with opera, performance, and architecture. Kholeif notes that Himid's expressions have heralded a distinct re-formulation of Black visuality, achieved through a re-imagining of Black life—framed through the lens of the present. In "Do You Want an Easy Life?" Kholeif pays special attention to the artist's collaborative art making and argues that through these forays that Himid is concerned with "making space" for what official record and history often elides. Kholeif argues that Himid's artistic realm is constructed through a form of "female worlding" that presages an intertextual palette for art and its history—one which demands crucial revision. [ABSTRACT FROM AUTHOR]

This article investigates the centrality of Black art collectors in the dissemination of Black art and culture as the art world became less accessible to Black artists, ironically, during the 1980s art boom. The essay chronicles the controversy over a proposed move of the Studio Museum in Harlem to Museum Mile on the predominantly White Upper East Side, investigates the importance of cultivating a Black art-buying constituency, and assesses the quest of Black visual artist Romare Bearden and his allies for mainstream recognition at the cost of a Black arts institution. This article draws on newspaper articles, personal correspondence, and organizational records to examine the politics of Black middle-class patronage networks and their impact on Black artists and art institutions as the art world became financialized in the 1980s. [ABSTRACT FROM AUTHOR]

Given historical patterns of unequal access to arts education, we used an ecosystem perspective to investigate Black Centered Arts and Eurocentric Arts in a mid-sized U.S. city, with a focus on youth programs, museums, and other youth arts organizations. We found that practitioner-leaders valued arts quality, equitable access, community embeddedness, and cultural preservation. Programs that provided access to Eurocentric arts tended to be older, larger, and better funded, and network analysis revealed a subnetwork made up largely of Black Centered Arts organizations. Results will inform an ongoing research-practice-philanthropy partnership structured to develop a more equitable city-wide arts ecosystem. [ABSTRACT FROM AUTHOR]

It is now commonplace to weave arts initiatives into community planning and development efforts. One historical foundation for this practice was the U.S. federal Model Cities programme, which promoted a role for the arts in the demonstration projects it funded. The reasons and purposes for doing so were worked out not by federal officials, but by funded projects on the ground in specific places. This essay tells the story of a federally funded performing arts programme in Seattle – Black Arts/West – and the intellectual landscape its supporters navigated to make a case for art's role in neighbourhood development. That case was based on a belief that the Black Arts could contribute not only job training and consumer dollars to neighbourhood development, but also a cosmopolitan vision of a welcoming and diverse city. Ironically, even as Black Arts/West helped root the Black Arts in Seattle's Central Area, it helped establish ways of thinking about the arts and diversity that would contribute to the neighbourhood's gentrification. [ABSTRACT FROM AUTHOR]

This article explores the significance of the Black Arts Movement (BAM) in urban history and its role in social movements during the 1960s and 1970s. It discusses three recent books that delve into the BAM, showcasing its importance in literature and art history. The article also examines two methodological approaches in BAM studies: the critical cultural approach, which analyzes the artistic qualities of BAM works, and the infrastructural approach, which focuses on the local context and networks that shaped the movement. It emphasizes the influence of cities, institutions, and politics on the BAM, as well as the reciprocal relationship between artists and communities. The article concludes by highlighting two recent books that offer promising methods for understanding the intersection of infrastructure and critical cultural approaches in urban history. These books emphasize the impact of the urban environment on artistic expression and community building. [Extracted from the article]

As sociologists of education, we're deeply concerned about the growing censorship in our schools and the attack on teaching the truth about our history and present-day inequality. We also recognize how an educational past mired in antiblack practices and policies remains with us today and thus why teachers are still faced with navigating censorship and constraints on what they know are critical and proven pedagogies. This article explores the continued need for "fugitive" practices to employ educational models that de-center Eurocentric narratives and center Black or other marginalized cultures and ways of knowing. We argue that educators committed to antiracist teaching can learn from the legacy of the art of Black teaching and how it was subversively taken up and put into practice by Black teachers over time (Gay, 2002; Givens, 2021; Walker, 2018). [ABSTRACT FROM AUTHOR]

Copyright of Espacio, Tiempo y Forma. Serie III, Historia Medieval is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this article, I conceptualize the term "black op art" to consider how black artists are centralizing speculative sensory effects as both object and subject within their work and therefore as dynamic interventions within the political, hyper-racialized, and dispossessing field of visuality. I consider themes of dispossession through a studied meditation of two works that similarly play and push on the edges of optical effects: James Baldwin (2018) by Nekisha Durrett and Requiem for Charleston (2016) by Lava Thomas. Black op art is neither about what is knowable nor enigmatic through the visual field, but rather about what lengths black artists must go to in order to work within it, as well as the ciphered language of mattering and meanings embedded within their works of art. [ABSTRACT FROM AUTHOR]

This article addresses how research can uncover and amplify long-marginalized histories to transform the field of art education through examination of the life and work of Dean Murry DePillars. Dr. DePillars is the longest serving dean of the School of the Arts (VCUarts) at Virginia Commonwealth University (1976-1995) and the first African American to serve as dean of VCUarts. Little research exists on art educators as artists, specifically Black art educators as artists, administrators, and leaders of universities/art programs. DePillars was not only an administrative leader, educator, and scholar, but a renowned artist and arts activist. In presenting this research, we hope to broaden and deepen the knowledge of DePillars as artist, art educator, scholar, and administrative leader and create a model for similar critical portraiture research on other marginalized artist/art educators. [ABSTRACT FROM AUTHOR]

This essay suggests that to read black art the viewer is obliged to read what is not there. What does this paradoxical statement imply? First, it implies that every black image is a caricature—a refusal—of the blackness of its concept; and to that extent what we see as black is no longer readable or seeable as image (or Dasein). Secondly, taking as my example the singular relation between pain and image in the artwork of Donald Rodney, and in particular the notion of a corpus exanime, I examine the implications of this notion for the traditions of art, philosophy, and aesthetics more generally. [ABSTRACT FROM AUTHOR]

The film Sunset Limited is an HBO adaptation of Cormac McCarthy's play of the same name, and it is an in-depth character study of two individuals: Black (played by Samuel L. Jackson) and White (played by Tommy Lee Jones). In the beginning of the film, Black has already saved White from committing suicide and they are sitting together at a small, round kitchen table; viewers learn that Black was going to work when he saw White on the train platform about ready to jump in front of the Sunset Limited. Black is a religious Christian and White is an outright atheist; one believes in Jesus Christ and one believes in nothing; one has faith and one has no faith in anything. These ideological standpoints (the lack of an ideology is still an ideology) are the foundation of this text. The focus of Suset Limited is the push and pull between religious belief (Black) and philosophical thought (White), which ultimately will determine whether White stays and decides to live, or goes and decides to take his life. In essence, Sunset Limited is an exercise in rhetoric, in the art of persuasion, and how this artform can be used in both religious and secular conversation. This study of Sunset Limited will devote time to Cormac McCarthy's connections to religion and philosophy using research about his work; then, there will be an in-depth textual analysis of the film, which will speak to not only who these characters are but also what they want to relay to one another about what they know (rather than what they believe) about the world. Black and White are polar opposites of each other (black and white); what this essay intends to prove is that there are similarities to their thought processes, even if they may not recognize it. [ABSTRACT FROM AUTHOR]

Since the 1960s, African Americans have advocated to be systematically represented and addressed in planning education and practice. Despite burgeoning diversity work, it is unclear how specifically planning scholars have listened. Using a bibliometric and content analysis of the 21 oldest and most-cited planning journals, I analyzed the presence of race, diversity, and African Americans in 19,645 peer-reviewed research articles published between 1990 and 2020. Of these articles, only 4.8% focused explicitly on racial diversity in the abstracts, titles, keywords, or within their main text. Within these 944 U.S. diversity articles, nearly one-fourth (24.47%, n = 231) focused on African Americans. Overall, just 1.17% of the total U.S.-focused planning research in these journals focused on African Americans in this 3-decade period. Of these Black urbanism research articles, an evolving set of 34 themes and 105 story beats built on each other in six story arcs: a) Black housing, segregation, and gentrification; b) Black entrepreneurship and employment; c) Black ecology and environmentalism; d) Black arts, culture, and politics; and e) Black intersectionality. In addition to offering the first quantitative study on Black urbanism since 1990, two main analytical insights are that Black urbanism is a small literature, and specific contours exist to grow Black urbanism beyond its small canon in planning. Limitations to these findings include the small literature size, the lack of engagement with Black urbanism in a broader context than planning, technological barriers for mining older articles from archived databases, and understanding Black urbanism beyond a provincial focus on the United States. I offer two suggestions for planning scholars and practitioners: Avoid race-neutral diversity language when practicing in or publishing about Black contexts and recognize that a canon of Black urbanism exists. [ABSTRACT FROM AUTHOR]

Each week, the preacher mounts the pulpit with many tools to deliver an impactful sermon. One element of preaching that the black church should embrace is humor. Humor and preaching may appear strange bedfellows, but humor is embedded in the art of black preaching. This study explores humor within the confines of the African Methodist Episcopal Zion Church. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The author discusses the development of jazz music before and alongside the 1960s Black Arts Movement that showcase the African American experience and aesthetic. Topics covered include its seeds from the African blues-strain that expanded into the Negro spiritual and gospel music by way of Christian hymns, and into the blues and jazz music genres. Also noted are jazz music's practice of improvisation that reflects freedom, and its styles of Dixieland, swing, bebop, and post-bop.

Frantz Fanon's thought has been key to the understanding of the lived experiences of black colonized subjects in the modern contemporary world including in the discipline of visual art. The modern world is constructed on systems of coloniality that border on the appropriation of African knowledge and indigenous knowledge systems, misrepresentation of their artifacts, and distortion of their languages. Decolonial epistemic perspective is a theory that is instrumental in this article to situate Fanon's thought to foreground a conceptual language of analysis and critique of black lived experiences in contemporary visual art. History of art is one of westernized disciplines in which the language of representing and interpreting African art and black art is absent. The colonial gramma of art history reduces African art to the language of an unknown artist and primitive art which led to the misrepresentation of the African and black narratives. This article deploys Fanon's thought from a decolonial perspective to formulate a decolonial grammar of being that will be applied to the interpretation of African and black art. [ABSTRACT FROM AUTHOR]

This paper aims at discussing the presence of black individuals in the Brazilian metal music scene. To do so, we move away from a homogenizing and historically constructed cultural position that privileges certain forms of art in the building of black subjects' authenticity to the detriment of others. We seek to highlight how racial representation works as a form of oppression. We ask: What are the ways and means that black people, as musicians and audiences, can find to re-inscribe themselves in the midst of an environment still predominantly occupied by whiteness in metal and, consequently, how can we locate those interstices to re-emerge and re-exist? [ABSTRACT FROM AUTHOR]

Rafael Cardoso's book, "Modernity in Black and White: Art and Image, Race and Identity in Brazil, 1890–1945," challenges the dominant narrative of Brazilian modernism centered around the 1922 Semana de Arte Moderna in São Paulo. The book explores the earlier expressions of modernity in Rio de Janeiro that have been overshadowed. It examines the role of artists, writers, and intellectuals in shaping Brazilian modernism, highlighting the contributions of Afro-descendant artists and the influence of international artistic movements. While there are disagreements with Cardoso's portrayal of the Paulista modernists, the book is still considered significant and influential in Brazilian cultural studies. [Extracted from the article]

Copyright of Journal of Babylon Center for Humanities Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses the Nation of Islam's use of the press as an instrument to develop critiques of Black life in the United States and present viable alternatives. Political artists in the Nation of Islam, having shared the same Great Migration life paths as their leader Elijah Muhammad, were key in the organization's reach, supporting the Nation of Islam in building a national network of distribution sites and a committed membership, which helped the organization to grow and claim membership of over two hundred thousand. By focusing on the Nation's midcentury publication Muhammad Speaks and its use of political cartoons, this essay explores art as a means to reorient Black geographic thought and political action. Overall, this essay suggests that the Muslim-organized Black press of the 1960s and 1970s played an important role as a counterpublic institution, providing space for Black communities to share experiences and connect their local political struggles to global anticolonial liberation movements. [ABSTRACT FROM AUTHOR]

The article reports that the Standard Bank Gallery hosted a major exhibition of artworks produced by Black South African artists from the twentieth century. Topics include examines titled "A Black Aesthetic: A View of South African Artists (1970–1990)" the show was curated by Same Mdluli, at the time the newly appointed director of the Standard Bank Gallery, and this was her first major curatorial intervention as director; and considered a Black Aesthetic was anchored by the University of Fort Hare's storied collection of twentieth-century Black art, which was initially historicized by Edward J. de Jager.

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This essay argues that limbo is a chronic aspect of black queer life and thus the tools this community has developed in responding to these experiences might offer solutions for dealing with the acceleration of disaster in the twenty‐first century. The author offers an analytical category and practice he calls limbologics: the production of indeterminate ontologies, temporal and spatial imaginaries that are created in relation to conditions of encroachment and violence. Through personal narrative, ethnography, and artist interviews Chapman situates black queer performance within limbo as an African Diasporic cosmology and aesthetic. He argues that we must grapple with crisis as limbo because the analogy gives us something we would not get with any other concept. That something is what is needed to move us toward a place where even in the midst of immanent disaster the most marginal of us, and/or unlikely parts of ourselves, can still live. This essay takes important steps in linking the suffering of people during the COVID‐19 pandemic; historical legacies of radical Black and queer creativity; and some of the black queer aesthetics thriving in contemporary New Orleans. These practices produce new geographies of hope in the face of uncertainty. [ABSTRACT FROM AUTHOR]

Copyright of Al-Academy is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article unspools the history of nylon as a commodity between two Black feminist cultural expressions, Senga Nengudi's R.S.V.P. series and Audre Lorde's Zami. The first popular petroleum‐derived synthetic fiber, nylon was a crucial material in building what Dwight D. Eisenhower was to dub the "military‐industrial complex." Through readings of R.S.V.P. and Zami, the article traces the racial and gendered history of nylon as both a fashion commodity and a military resource. These readings demonstrate Black feminism's central relevance to US military imperialism, particularly in Asia and the Pacific, as well as imperialism's impacts on Black femininity during the Cold War. This article argues that Black feminist aesthetics, such as those Nengudi and Lorde employ, restores the context of commodities like nylons, revealing the centrality of Black women's productive and reproductive labor to US empire. Most important, as R.S.V.P. and Zami restore context, they also generate a system of value in opposition to racial capitalism that does not depend on violence against Black women. [ABSTRACT FROM AUTHOR]

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