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"Examines the involvement of African Americans in the New Deal art programs, shifting emphasis from individual artists toward broader issues informed by the uniqueness of Black experience"-- Provided by publisher.

African American art. --- African American artists. --- Art and race.

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In the late 1880s Gauguin, Van Gogh and Bernard, fledgling members of the subculture we call the avant-garde, abandoned Paris, the capital of modernity, to seek out in rural Brittany, Provence - and later in Tahiti - what Van Gogh called "a purer nature of the countryside". Griselda Pollock challenges art history's usual interpretations of this search for an "art of consolation" in the distant and exotic regions by arguing that these artists were cultural colonizers. They exhibited the modern tourist's attachement to home - modern Paris and its art worlds - while being fascinated by what they imagined was a pre-modern "other". Through a thorough textual and social reading of Gauguin's 1892 painting of his Tahitian wife, Manao Tupapau, the author proposes a new theory about the avant-garde as a series of gambits, a game of reference, deference and difference. This painting refers and defers to Manet's Olympia (1863), a notorious avant-garde image of prostitution in the modern city. Where it was seen to differ was in the colour of the nude : critics named it a "brown Olympia". Careful deconstruction of this epithet allows Professor Pollock to explore the ways in which racist discourse structures art and art history, posing questions of cultural, sexual and ethnic difference in order to make us all self-critical, not only in regard to the gender, but also to the colour of art history.

Women in art --- Avant-garde (Aesthetics) --- Post-impressionism (Art) --- Art and race --- Feminist art criticism

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Black Sound White Cube by Belgian philosopher Dieter Lesage and German artist and curator Ina Wudtke sheds a new light on global intricacies within contemporary art production. The book addresses works by international artists such as Sonia Boyce, Jennie C. Jones, Minouk Lim, Nadine Robinson, Sanford Biggers and Yoel Vazquez, as well as by curators, such as Thelma Golden, Valerie Cassel Oliver, Lydia Yee, Richard J. Powell and Franklin Sirmans. In their artistic and curatorial work, these people all reflect on the Afro-Atlantic diaspora and explore the relationships between music and the visual arts. Black Sound White Cube also offers a refreshing critical reading of canonical works of art, which in this context are repeatedly mentioned uncritically, such as 4'33' by John Cage, and Rock My Religion by Dan Graham. Black Sound White Cube indicates subaltern lines of tradition and provokes discussion beyond the hegemonic traditions of avant-garde and rock.

Space (Art) --- Installations (Art) --- Environment (Art) --- Art and music --- Art and race

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"Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge"-- Crafting a fluid yet critical new framework, explored via a series of case studies, including their own practice-as-research, Ben Spatz confronts hegemonic modes of white writing and white institutionality and examines alternative forms of knowledge"

Art and race. --- Performing arts --- Research. --- Technique. --- Art et race. --- Arts du spectacle --- Recherche.

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"The Sense of Brown is José Esteban Muñoz's treatise on brownness and being as well as his most direct address to queer Latinx studies. In this book, which he was completing at the time of his death, Muñoz examines the work of playwrights Ricardo Bracho and Nilo Cruz, artists Nao Bustamante, Isaac Julien, and Tania Bruguera, and singer José Feliciano, among others, arguing for a sense of brownness that is not fixed within the racial and national contours of Latinidad. This sense of brown is not about the individualized brown subject; rather, it demonstrates that for brown peoples, being exists within what Muñoz calls the brown commons—a lifeworld, queer ecology, and form of collectivity. In analyzing minoritarian affect, ethnicity as a structure of feeling, and brown feelings as they emerge in, through, and beside art and performance, Muñoz illustrates how the sense of brown serves as the basis for other ways of knowing and being in the world."--Publisher's description.

Art and race. --- Hispanic Americans in the performing arts. --- Hispanic Americans --- Performance art. --- Queer theory. --- Ethnic identity.