Author: Camara Dia Holloway
I am the Project Manager for the Romare Bearden Digital Catalogue Raisonné at the Wildenstein Plattner Institute. I earned my PhD at Yale University in the History of Art Department and specialize in twentieth century American art with a particular focus on the history of photography, race and representation, and transatlantic modernist networks. I also serve as a Founding Co-Director of the Association for Critical Race Art History (ACRAH).
Haiti’s earthquake and survival in photos
PUB: New Provincialisms: Curating Art of the African Diaspora
New Provincialisms: Curating Art of the African Diaspora
La Fantasie Art Project (by caribbeanfreephoto via flickr)
New Provincialisms: Curating Art of the African Diaspora by Leon Wainwright is now available to read in full at the Black Atlantic Resource:
Over the past decade there have been various curatorial attempts to assemble and understand the art of the African diaspora and to offer a more global sense of the histories from which such works emerge. The diaspora concept once promised fresh possibilities for imagining community beyond the nation; however, its internationalist emphasis has given way to a provincializing attitude grounded in United States – centered experiences.
When art exhibitions are designed to mobilize the African diaspora and to reverse its traditional exclusion from art history and public memory, it is less clear whether such designs also prove capable of reversing the direction of this new provincialism. And yet, while the otherwise international relevance of the diaspora analytic has become susceptible to political and social priorities with a locus in the United States, much can be gained from interrogating the ways in which this locus generates new “margins” and “centers” in the world of art and blackness.
To view the full article at the Black Atlantic Resource now click here.
[First published in Radical History Review, Issue 103 (Winter 2009) pp. 203-213: http://dx.doi.org/doi:10.1215/01636545-2008-041]
PUB: AUBREY WILLIAMS: ATLANTIC FIRE
AUBREY WILLIAMS: ATLANTIC FIRE
Aubrey Williams: Atlantic Fire by Leon Wainwright is now available to read in full at the Black Atlantic Resource:
The paintings of Aubrey Williams are islands of fire that have scorched their way across a range of different stories of art. One story is about the evolution of British painting in the twentieth century. Another is a story about the way in which Caribbean people have struggled and pressed for their freedom and sparked with modern creativity. Yet another story has passages on Britain and Guyana, Jamaica, South America, and the United States, pulling in all those settings around the Atlantic where Aubrey Williams lived and worked, and where he exhibited his art. It is a story about how Williams had an ability to be in several places at once in the history of art. Williams’ legacy is framed within a brilliant composite of narratives; and there his art works have remained, smouldering continually, their heat slowly building. His life story and his art cannot be located in a simple geography, either physical or cultural. Williams painted with fire, and the path that he cut is a hard one to follow…
To view the full article at the Black Atlantic Resource now click here
Leon Wainwright, ‘Aubrey Williams: Atlantic Fire’, in Reyahn King ed., 2010 Aubrey Williams: Atlantic Fire National Museums Liverpool and October Gallery, London, pp. 46-55. ISBN: 978-1-899542-30-7. Exhibition catalogue essay. Republished here with permission of the Walker Art Gallery, Liverpool and The October Gallery, London.
Barrington Watson: A life in paint
SYMP: A MEMORIAL SYMPOSIUM FOR PROF. MARLENE S. PARK
A MEMORIAL SYMPOSIUM FOR PROF. MARLENE S. PARK (1931-2010)
Friday, October 21, 2011, 1:00-6:00 P.M. in Segal Theater (1st floor)
The Graduate School and University Center of the City University of New York
365 Fifth Avenue, New York, NY 10016
212-817-8035 / Ph.D. Program in Art History
www.gc.cuny.edu
The Ph.D. Program in Art History at the Graduate School of the City University of New York is sponsoring a symposium to honor the life, scholarship, and mentoring of Prof. Marlene S. Park (1931-2010). Prof. Park was an art historian who specialized in 20th-century American art and was particularly known for her work on American art of the 1930s, art of the New Deal, and public art. She taught at John Jay College of Criminal Justice, CUNY for over thirty years and was a member of the faculty of the CUNY Ph.D. Program in Art History for over twenty of those years. As a member of the CUNY Art History doctoral faculty, she taught a variety of courses and mentored and advised countless students, many of whom have emerged as important scholars, educators, and curators in their own right.
The symposium will feature a dozen presenters, all of them former graduate students who studied with Prof. Park. The speakers will include Mary Abell, Michele Cohen, Russell Flinchum, Ilene Susan Fort, Valerie Ann Leeds, Herbert R. Hartel, Jr., Ruth Pasquine, R. Sarah Richardson, Will South, Susan Valdes-Dapena, and James Wechsler. Gerald Markowitz, Distinguished Professor of History at John Jay College of Criminal Justice, and William H. Gerdts, Professor Emeritus of Art History at the CUNY Graduate School, were good friends and close colleagues of Prof. Park and will also speak at the symposium.
For more information, please contact co-organizers Michele Cohen at mcohen.art@gmail.com or Herb Hartel at hartel70@aol.com. More information is available at the web site of the CUNY Ph.D. Program in Art History at http://web.gc.cuny.edu/dept/arthi/.
Schedule of the conference:
1:00-1:30 P.M. Welcoming remarks
Kevin Murphy, Professor of Art History and Chair of the Ph.D. Program in Art History at the CUNY Graduate Center
Gerald Markowitz, Distinguished Professor of History, John Jay College, CUNY
William H. Gerdts, Professor Emeritus of Art History in the Ph.D. Program in Art History at the CUNY Graduate Center
Michele Cohen, Co-organizer of the Memorial Symposium
1:30-3:10 P.M. Early Modernism in America
Valerie Ann Leeds, independent curator, “At the Brink of Modernism: Robert Henri and Ireland”
Will South, Chief Curator, Dayton Art Institute, “”Synchromism and Synaesthesia: A Not-So-Lucky Strike””
Ruth Pasquine, independent scholar, “The Theosophical Paintings of Emil Bisttram”
Russell Flinchum, Archivist at The Century Association, “Why Teague Matters”
Mary Abell, Chair of the Department of Art, Dowling College, “The Teaching and Critical Reception of Edwin Dickinson”
3:20 -4:20 P.M. American Art during the 1930s
R. Sarah Richardson, Hollis Taggart Galleries, “Historic America and the Precisionist Impulse”
Ilene Susan Fort, Curator of American Painting and Sculpture, Los Angeles County Museum of Art, “The United States Education of a Mexican Surrealist: Bridget Tichenor”
James Wechsler, independent scholar, “Reddening the Record: Revolutionary Art Between the World Wars”
4:30-5:30 P.M, Issues in Public Art
Susan Valdes-Dapena, independent scholar, “‘Painting Section’ in Black and White: Ethel Magafan’s ‘Cotton Pickers'”
Michele Cohen, independent scholar and public art consultant, “Civilization: Its Rise and Fall in New Deal Murals”
Herbert R. Hartel, Jr., John Jay College, CUNY, “The Sculptural Paintings of Abraham Joel Tobias: The Shaped Canvas in 1930s New York”
5:30 P.M. Closing remarks
ACRAH 