TY - BOOK ID - 3376486 TI - Images of Black modernism : verbal and visual strategies of the Harlem Renaissance PY - 2010 SN - 9781558498310 PB - Amherst Boston University of Massachusetts Press DB - UniCat KW - African Americans in art KW - African Americans in literature KW - Afro-Americains dans l'art KW - Afro-Americans in literature KW - Afro-Amerikanen in de kunst KW - Afro-Amerikanen in de literatuur KW - Afro-Américains dans la littérature KW - Amerikaanse zwarten in de literatuur KW - Art dans la littérature KW - Art in literature KW - Black Americans in literature KW - Harlem Renaissance KW - Kunst in de literatuur KW - Negroes in literature KW - Noirs américains dans la littérature KW - Perception visuelle dans la littérature KW - Visual perception in literature KW - Visuele waarneming in de literatuur KW - Zwarte Amerikanen in de literatuur KW - American literature KW - African American authors KW - History and criticism KW - African American art KW - 20th century KW - African Americans KW - Intellectual life KW - Modernism (Literature) KW - United States KW - Johnson, James Weldon KW - Criticism and interpretation KW - Larsen, Nella KW - Schuyler, George Samuel KW - Van Vechten, Carl KW - Siskind, Aaron KW - Littérature américaine KW - Noirs américains KW - Auteurs noirs américains KW - Histoire et critique KW - Dans la littérature KW - Dans l'art KW - Vie intellectuelle KW - 20e siècle UR - https://www.unicat.be/uniCat?func=search&query=sysid:3376486 AB - Focusing on the years from 1922 to 1938, this book revisits an important moment in black cultural history to explore how visual elements were used in poems, novels, and photography to undermine existing stereotypes. Miriam Thaggert identifies and analyzes an early form of black American modernism characterized by a heightened level of experimentation with visual and verbal techniques for narrating and representing blackness. The work of the writers and artists under discussion reflects the creative tension between the intangibility of some forms of black expression, such as spirituals, and the materiality of the body evoked by other representations of blackness, such as “Negro” dialect. By paying special attention to the contributions of photographers and other visual artists who have not been discussed in previous accounts of black modernism, Thaggert expands the scope of our understanding of the Harlem Renaissance and contributes to a growing recognition of the importance of visual culture as a distinct element within, and not separate from, black literary studies. Thaggert trains her critical eye on the work of James Weldon Johnson, Nella Larsen, George Schuyler, Carl Van Vechten, James Van Der Zee, and Aaron Siskind—artists who experimented with narrative and photographic techniques in order to alter the perception of black images and to question and reshape how one reads and sees the black body. Examining some of the more problematic authors and artists of black modernism, she challenges entrenched assumptions about black literary and visual representations of the early to mid twentieth century. Thaggert concludes her study with a close look at the ways in which Harlem and the Harlem Renaissance were reimagined and memorialized in two notable texts—Wallace Thurman’s 1932 satire Infants of the Spring and the Metropolitan Museum of Art’s controversial 1969 exhibition “Harlem on My Mind: The Cultural Capital of Black America, 1900–1968.” ER -