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A landmark exhibition on display at the Brooklyn Museum from April 21 through September 17, 2017, We Wanted a Revolution: Black Radical Women, 196585 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It showcases the work of black women artists such as Emma Amos, Maren Hassinger, Senga Nengudi, Lorraine O'Grady, Howardena Pindell, Faith Ringgold, and Betye Saar, making it one of the first major exhibitions to highlight the voices and experiences of women of color. In so doing, it reorients conversations around race, feminism, political action, art production, and art history in this significant historical period.

The accompanying Sourcebook republishes an array of rare and little-known documents from the period by artists, writers, cultural critics, and art historians such as Gloria Anzaldúa, James Baldwin, bell hooks, Lucy R. Lippard, Audre Lorde, Toni Morrison, Lowery Stokes Sims, Alice Walker, and Michelle Wallace. These documents include articles, manifestos, and letters from significant publications as well as interviews, some of which are reproduced in facsimile form. The Sourcebook also includes archival materials, rare ephemera, and an art-historical overview essay. Helping readers to move beyond standard narratives of art history and feminism, this volume will ignite further scholarship while showing the true breadth and diversity of black womens engagement with art, the art world, and politics from the 1960s to the 1980s.

Art --- mezzotint [process] --- racial discrimination --- feminism --- #breakthecanon --- Feminist art --- Racism --- Social movements --- Women --- Blackness --- Black feminism --- anno 1960-1969 --- anno 1970-1979 --- anno 1980-1989 --- United States of America

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Being (Imposed Upon) is een tijdloze liefdesbrief en handleiding van en voor zwarte vrouwen. Dit boek is een collectie van reflecties over vrouw- én zwart-zijn in België. In de twee landstalen Nederlands en Frans verenigen wij, zwarte vrouwen, non-fictie essays, literaire beschouwingen, poëzie, activistische en academische teksten rond onze zoektocht naar vrijheid. Dit boek is een eerbetoon aan onze ouderen, onze heldinnen en onze zusters. Nous sommes des Femmes Noires, poétesses, militantes, universitaires, littéraires et essayistes engagées dans des causes afroféministes, antiracistes et décoloniales. Nous sommes ces Afro-belges néerlandophones et francophones indignées par des siècles d?esclavages coloniaux, de violences et de discriminations raciales. Nous sommes ces Afrodescendantes qui marquent ici le refus des diverses formes d'impositions qu?elles subissent structurellement et quotidiennement. Nous sommes ces Femmes aux identités Tierces que l?on oppresse et qui pourtant, à l?aune de l?érosion du pouvoir des bourreaux sur nos corps, nos âmes et nos esprits, réfléchissent à leur condition et travaillent à leur empowerment. Nous sommes ces Africaines stigmatisées, invitées à rejeter nos origines et qui pourtant vous livrent ici une lettre d?amour intemporelle à toutes les Femmes Noires, à celles qui ont peur et celles luttent. Nous sommes ces immortelles qui rendront hommage à nos aînées, nos héroïnes, à notre filiation de Résistances. Ce manuel d?émancipation trace les chemins de notre liberté et de notre résilience ; par nous, pour nous ! Impose our freedom. - Mireille-Tsheusi Robert Auteurs: Joëlle Sambi Nzeba, Olave Nduwanje, Emmanuelle Nsunda, Sabrine Ingabire, Aline Bosuma W?Okungu Bakili, Heleen Debeuckelaere, Mireille-Tsheusi Robert, Munganyende Hélène Christelle, Modi Ntambwe, Emma-Lee Amponsah, Djia Mambu, Shari Aku Legbedje & Anissa Boujdaini, Gia Abrassart, Melat Gebeyaw Nigussie, Anne Wetsi Mpoma, Lisette Ma Neza Let op: dit boek bevat Nederlandse en Franse teksten.

Sociology of minorities --- Sociology of the family. Sociology of sexuality --- Colonisation. Decolonisation --- women's studies --- #breakthecanon --- anno 2000-2099 --- Belgium --- België. --- Verhalen. --- Zwarte vrouwen. --- vrouwen. --- zwarten. --- kunst --- Afrika --- postkolonialisme --- België --- 130.2 --- cultuurfilosofie --- literatuur --- Essays --- Identity --- Racism --- Women --- Blackness --- Black feminism --- Book --- Decolonization

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Troubling Vision addresses American culture's fixation on black visibility, exploring how blackness is persistently seen as a problem in public culture and even in black scholarship that challenges racist discourse. Through trenchant analysis, Nicole R. Fleetwood reorients the problem of black visibility by turning attention to what it means to see blackness and to the performative codes that reinforce, resignify, and disrupt its meaning. Working across visual theory and performance studies, Fleetwood asks, How is the black body visualized as both familiar and disruptive? How might we investigate the black body as a troubling presence to the scopic regimes that define it as such? How is value assessed based on visible blackness? Fleetwood documents multiple forms of engagement with the visual, even as she meticulously underscores how the terms of engagement change in various performative contexts. Examining a range of practices from the documentary photography of Charles "Teenie" Harris to the "excess flesh" performances of black female artists and pop stars to the media art of Fatimah Tuggar to the iconicity of Michael Jackson, Fleetwood reveals and reconfigures the mechanics, codes, and metaphors of blackness in visual culture. "Troubling Vision is a path-breaking book that examines the problem of seeing blackness-the simultaneous hyper-visibility and invisibility of African Americans-in US visual culture in the last half century. Weaving together critical modes and methodologies from performance studies, art history, critical race studies, visual culture analysis, and gender theory, Fleetwood expands Du Bois's idea of double vision into a broad questioning of whether 'representation itself will resolve the problem of the black body in the field of vision.' With skilled attention to historical contexts, documentary practices, and media forms, she takes up the works of a broad variety of cultural producers, from photographers and playwrights to musicians and visual artists and examines black spectatorship as well as black spectacle. In chapters on the trope of 'non-iconicity' in the photographs of Charles (Teenie) Harris, the 'visible seams' in the digital images of the artist Fatimah Tuggar, and a coda on the un-dead Michael Jackson, Fleetwood's close analyses soar. Troubling Vision is a beautifully written, original, and important addition to the field of American Studies."-Announcement of the American Studies Association for the 2012 Lora Romero First Book Publication Prize

African Americans in popular culture. --- African Americans --- Blacks --- Hip-hop. --- Masculinity in popular culture. --- Femininity in popular culture. --- Popular culture --- Negritude --- Afro-Americans in popular culture --- Hip-hop culture --- Hiphop --- African American arts --- Black identity --- Blackness (Race identity) --- Race identity of blacks --- Racial identity of blacks --- Ethnicity --- Race awareness --- Race identity. --- Ethnic identity --- Philosophy and psychology of culture --- Sociology of culture --- popular culture --- African American --- minorities --- minderheden --- #breakthecanon --- Race identity of Black people --- Racial identity of Black people --- Black persons --- Negroes --- Ethnology --- Black people --- visibility, blackness, race, racism, bias, performance, visuality, visual culture, black body, value, michael jackson, icon, fame, celebrity, fatimah tuggar, art, media, pop stars, female artists, excess flesh, charles teenie harris, photography, nonfiction, gender, representation, invisibility, hyper-visibility, spectacle, spectatorship, hip hop, music, masculinity, femininity, double vision, colorism, advertising, fashion.

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"Focusing on the work of black women artists, We Wanted a Revolution: Black Radical Women, 1965-85 examines the political, social, cultural, and aesthetic priorities of women of color during the emergence of second-wave feminism. It is the first exhibition to highlight the voices and experiences of women of color--distinct from the primarily white, middle-class mainstream feminist movement--in order to reorient conversations around race, feminism, political action, art production, and art history in this significant historical period. Presenting a diverse group of artists and activists who lived and worked at the intersections of avant-garde art worlds, radical political movements, and profound social change, the exhibition features a wide array of work, including conceptual, performance, film, and video art, as well as photography, painting, sculpture, and printmaking."--Brooklyn Museum website, viewed April 11, 2017.

Art --- mezzotint [process] --- racial discrimination --- feminism --- #breakthecanon --- anno 1960-1969 --- anno 1970-1979 --- anno 1980-1989 --- United States --- United States of America --- Femmes artistes noires américaines --- Noires américaines --- Femmes écrivains noires américaines --- Womanisme --- African American feminists --- African American women authors --- African American radicals --- African American women --- Feminist literature --- Feminism --- Expositions. --- Activité politique --- History --- Exhibitions. --- Political activity --- Sources --- Femmes artistes noires américaines --- Noires américaines --- Femmes écrivains noires américaines --- Feminist art --- Racism --- Social movements --- Women --- Blackness --- Black feminism