This exhibition Meditations on Emancipation (in the 21st Century) is being developed as part of the semester long programming in support of Celebrating the 150th Anniversary of the Emancipation Proclamation at Geneseo. The Bertha V.B. Lederer Gallery seeks artist’s submissions that specifically address the Emancipation Proclamation and what it means today.
Submissions are due: November 15, 2012
Artist Notification: December 15, 2012
http://www.geneseo.edu/galleries/meditations-emancipation
“Molas come from the kalu Tuipis.
It was a dangerous place
where skilled scissor-users lived…
They were very beautiful women . . . ”
—”Black Vulture” recounted by E.G. from Mulatupu
“Picture yourself in a boat on a river
With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly
A girl with kaleidoscope eyes
Cellophane flowers of yellow and green
Towering over your head
Look for the girl with the sun in her eyes
And she’s gone”
—Paul McCartney; John Lennon
Either of these quotes above could be invoked to describe the mola textiles in LACMA’s Stitching Worlds: Mola Art of the Kuna on view in the Art of the Americas building through the fall. With kaleidoscopic designs and layers of psychedelic colors carefully cut out and stitched together by craftswomen, molas are intriguing modern textiles. The term mola—the Kuna word for “cloth”—refers to brightly…
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Tempestt Hazel, curator of The Future’s Past exhibition and executive director of the Chicago Arts Archive: A Sixty Inches From Center Project is doing a series on Afrofuturism and Afrosurrealism. Two of her first interviewees were visual artist Krista Franklin and Afrosurrealist creator D. Scott Miller. This is the beginning of Franklin’s interview:
What is AfroFuturism and AfroSurrealism? The art historian in me finds it exciting to be in the middle of a rapidly advancing movement that is all at once undefined but unmistakable in presence, expanding and unfolding, and setting the tone for new waves in art, music, fashion and cultural production at all levels. The chapters of most art history textbooks I’ve come across have made it clear: our understanding of art and how it fits into a historical context is often shaped by historian-identified movements that are pinpointed late in the game or in hindsight…
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Blk Art Group Research Project
30th Anniversary Conference
Wolverhampton University
Saturday 27th and Sunday 28th October 2012
CALL FOR PAPERS
The conference aims to enable and share scholarship and research into the ‘Black Art Movement’, it’s core debates, precursors and legacies.
By bringing together artists, curators, historians and scholars we hope to add to the pool of knowledge surrounding the ‘black art movement’; to encourage those scholars already active in this field to further develop and share their work and to uncover work that may have gone unpublished or remain obscured.
This is a call for papers that contribute to the debate through the detailed and critical examination of a single work, body of work or group of works. Whilst the conference aims to focus on the 80s, papers may include works that were produced prior to the 80s or later as long as there is a clear rationale for their consideration in this context.
Finished papers should be suitable for a presentation of approximately 20 minutes. We ask that abstracts of up to 300 words and a brief biography should reach us at blkartgroupresearchproject@gmail.com by Friday 20th July.
Section of particular interest:
In Plain Sight: Breaking the Textual Bind
Celeste-Marie Bernier, ‘A “Typical Negro” or a “Work of Art?” The
“inner” via the “outer man” in Frederick Douglass’s Manuscripts and
Daguerreotypes’
Fionnghuala Sweeney, ‘Visual Culture and Fictive Technique in
Frederick Douglass’ The Heroic Slave’
Lisa Merrill, ‘Exhibiting Race “Under the World’s Huge Glass Case”:
William and Ellen Craft and William Wells Brown at the Great
Exhibition in Crystal Palace, London, 1851’
