This striking new book features 18 paintings by the renowned American abstract painter Helen Frankenthaler. Showcasing eighteen of Frankenthaler’s paintings, dating from 1962 to 1987, this beautiful book highlights the diverse relationship between drawing and painting evident in the artist’s work. The book includes color plates of all 18 works, as well as nine double-page spread details. Never-before-published documentary material appears throughout new and insightful texts by John Elderfield, Francine Prose, and Carol Armstrong. This book accompanies the 2016 exhibition of Frankenthaler’s work at Gagosian Gallery Beverly Hills.
The only guide of its kind, Line Color Form offers a thorough introduction to design theory and terminology in a visually appealing and accessible format. With hundreds of illustrations and minimal text, this primer was created with visual learners in mind, making it ideal for art students as well as those for whom English is a second language. Each chapter focuses on a single aspect of visual composition, such as line, color, or material. After an illustrated discussion of fundamental vocabulary, the chapters move on to applications of the concepts through images, including photographs, color wheels, significant works of art, and other visual aids. Each image is accompanied by a descriptive paragraph offering an example of how the vocabulary can be applied in visual analysis. The book culminates with a section on formal analysis, aimed at teaching readers how to express their observations in formal writing and critical discourse. Whether you are a design educator, student, or professional, native or non-native English speaker, this reference is a must.
Inspired by true events, this gorgeous, haunting novel intertwines the lives of two Black female artists more than a century apart, both outsiders in Italy. It was the middle of the nineteenth century when Lafanu Brown audaciously decided to become an artist. In the wake of the American Civil War, life was especially tough for Black women, but she didn’t let that stop her. The daughter of a Native American woman and an African-Haitian man, Lafanu had the rare opportunity to study, travel, and follow her dreams, thanks to her indomitable spirit, but not without facing intolerance and violence. Now, in 1887, living in Rome as one of the city’s most established painters, she is ready to tell her fiancé about her difficult life, which began in a poor family forty years earlier. In 2019, an Italian art curator of Somali origin is desperately trying to bring to Europe her younger cousin, who is only sixteen and has already tried to reach Italy on a long, treacherous journey. While organizing an art exhibition that will combine the paintings of Lafanu Brown with the artworks of young migrants, the curator becomes more and more obsessed with the life and secrets of the nineteenth-century painter. Weaving together these two vibrant voices, Igiaba Scego has crafted a powerful exploration of what it means to be “other,” to be a woman, and particularly a Black woman, in a foreign country, yesterday and today.
"Across the Color Line: Reporting 25 Years in Black Cincinnati pulls together newspaper reporter Mark Curnutte's stories published in The Cincinnati Enquirer over a 25-year period starting in 1993. With hard-won insights learned from years of in-the-community reporting, Curnutte describes the African American experience through personality and neighborhood profiles, the community institutions, historical perspectives and issue stories. The anthology tells a sweeping narrative of a city suffering and maturing through turn-of-the-century racial growing pains, increased racial sophistication and diversity, and Curnutte's personal journey as a white man and reporting making the intentional decision to work and live across the color line"--
Color Outside the Lines brings together diverse, talented YA voices, including Samira Ahmed, Adam Silvera, Anna-Marie McLemore, Lori Lee, and Elsie Chapman, to reflect on interracial relationships. While focusing predominantly on POC voices, the anthology also includes LGBTQ+, religious, minority, and disability intersectionality, and it's stories range in tone and genre, from light-hearted contemporary to darker fantasy.
This work reaches across the colour line to examine how race, gender, class and individual subjectivity shaped the lives of black and white women in the 19th- and 20th-century American South.
Ellsworth Kelly first conceived Line Form Color in 1951 as a series of studies, both drawings and collages. In this volume, Kelly has brought Line Form Color to completion. Its 40 plates correspond to the original collages. This is the French language edition.
The unheard history of how race and racism are constructed from sound and maintained through the listening ear. Race is a visual phenomenon, the ability to see “difference.” At least that is what conventional wisdom has lead us to believe. Yet, The Sonic Color Line argues that American ideologies of white supremacy are just as dependent on what we hear—voices, musical taste, volume—as they are on skin color or hair texture. Reinforcing compelling new ideas about the relationship between race and sound with meticulous historical research, Jennifer Lynn Stoever helps us to better understand how sound and listening not only register the racial politics of our world, but actively produce them. Through analysis of the historical traces of sounds of African American performers, Stoever reveals a host of racialized aural representations operating at the level of the unseen—the sonic color line—and exposes the racialized listening practices she figures as “the listening ear.” Using an innovative multimedia archive spanning 100 years of American history (1845-1945) and several artistic genres—the slave narrative, opera, the novel, so-called “dialect stories,” folk and blues, early sound cinema, and radio drama—The Sonic Color Line explores how black thinkers conceived the cultural politics of listening at work during slavery, Reconstruction, and Jim Crow. By amplifying Harriet Jacobs, Frederick Douglass, Elizabeth Taylor Greenfield, Charles Chesnutt, The Fisk Jubilee Singers, Ann Petry, W.E.B. Du Bois, and Lena Horne as agents and theorists of sound, Stoever provides a new perspective on key canonical works in African American literary history. In the process, she radically revises the established historiography of sound studies. The Sonic Color Line sounds out how Americans have created, heard, and resisted “race,” so that we may hear our contemporary world differently.
Sounding the Color Line explores how competing understandings of the U.S. South in the first decades of the twentieth century have led us to experience musical forms, sounds, and genres in racialized contexts. Yet, though we may speak of white or black music, rock or rap, sounds constantly leak through such barriers. A critical disjuncture exists, then, between actual interracial musical and cultural forms on the one hand and racialized structures of feeling on the other. This is nowhere more apparent than in the South. Like Jim Crow segregation, the separation of musical forms along racial lines has required enormous energy to maintain. How, asks Nunn, did the protocols structuring listeners' racial associations arise? How have they evolved and been maintained in the face of repeated transgressions of the musical color line? Considering the South as the imagined ground where conflicts of racial and national identities are staged, this book looks at developing ideas concerning folk song and racial and cultural nationalism alongside the competing and sometimes contradictory workings of an emerging culture industry. Drawing on a diverse archive of musical recordings, critical artifacts, and literary texts, Nunn reveals how the musical color line has not only been established and maintained but also repeatedly crossed, fractured, and reformed. This push and pull--between segregationist cultural logics and music's disrespect of racially defined boundaries--is an animating force in twentieth-century American popular culture.
