Exhibiting Blackness: African Americans and the American Art Museum

Images

Plate 1. Jacob Lawrence, The Life of Toussaint L’Ouverture (1938). Panel #7: As a child, Toussaint heard the twang of the planter’s whip and saw blood stream from the bodies of slaves. Amistad Research Center at Tulane University, New Orleans. Plate 2. Charles White, Seed of Love (1969).© Copyright. Black ink. Sheet: 51 x 36 in. (129.54 x 91.44 cm). Museum Acquisitions Fund (M.71.9). Los Angeles County Museum of Art, Los Angeles. Digital Image © 2009 Museum Associates/LACMA Art Resource, NY. Plate 3. Timothy E. Washington, One Nation Under God (1970).© Copyright. Engraving on aluminum with added color, sheet: 35 x 48 in. (88.9 x 121.92 cm). Museum Purchase with Museum Associates Funds (M.71.8). Digital Image © 2009 Museum Associates/LACMA Art Resource, NY. Los Angeles County Museum of Art, Los Angeles. Plate 4. John James Audubon, Virginian Partridge (1830). Plate 6. Still of David Driskell and Rex Stead in LACMA office from the film Two Centuries of Black American Art (Director: Carlton Moss, 1976). Courtesy of Pyramid Media. Plate 7. David Driskell and Tom Brokaw in conversation about Two Centuries of Black American Art on The Today Show.© 2005 NBC Universal, Inc., All Rights Reserved. Plate 8. Tom Brokaw on The Today Show discussing Two Centuries of Black American Art in front of an enlarged reproduction of Haitian Market (1950) by William E. Scott.© 2005 NBC Universal, Inc., All Rights Reserved. Plate 5. Title still from the film Two Centuries of Black American Art (Director: Carlton Moss, 1976). Courtesy of Pyramid Media. Plate 9. Fred Wilson, Guarded View (1991), wood, paint, steel, and fabric, dimensions variable.© Fred Wilson, courtesy The Pace Gallery. Plate 10. Lyle Ashton Harris, Constructs, 1989. Installation view, Black Male: Representations of Masculinity in Contemporary Art, November 10, 2004—March 5, 2005. Whitney Museum of American Art, New York. Courtesy of Lyle Ashton Harris and CRG Gallery. Plate 11. Noni Olabisi, To Protect and Serve (1994).© SPARC Neighborhood Pride Mural Program. Plate 12. Artis Lane, Emerging New Man Fragment (1993), bronze, ceramic shell, resin, 22.5 x 13 x 6". Courtesy of Artis Lane. www.artislane.com. Plate 13. John Outterbridge, In Search of the Missing Mule (in progress) (1993). Courtesy of John Outterbridge. Plate 14. Four installation views of The Quilts of Gee’s Bend at the Museum of Fine Arts, Houston. Photographs by Thomas R. DuBrock. Museum of Fine Arts, Houston Archives. © Museum of Fine Arts, Houston, 2002. Plate 15. Lutisha Pettway, “Bars” work-clothes quilt (c. 1950). Museum of Fine Arts, Houston. Photograph by Steve Pitkin/Pitkin Studio. Courtesy of Souls Grown Deep Foundation. Plate 16. Jessie T. Pettway, My Way, bars and string-pieced columns (c. 1950s). William Arnett Collection of the Tinwood Alliance. Photograph by Steve Pitkin/Pitkin Studio. Courtesy of Souls Grown Deep Foundation. Plate 17. Lottie Mooney, “Housetop”—four block “Half-Log Cabin” variation (c. 1940). William Arnett Collection of the Tinwood Alliance. Photograph by Steve Pitkin/Pitkin Studio. Courtesy of Souls Grown Deep Foundation. Plate 18. Annie E. Pettway, “Flying Geese” variation (1935). William Arnett Collection of the Tinwood Alliance. Photograph by Steve Pitkin/Pitkin Studio. Courtesy of Souls Grown Deep Foundation. Plate 19. Flora Moore, “Log Cabin” variation (c. 1975). William Arnett Collection of the Tinwood Alliance. Photograph by Steve Pitkin/Pitkin Studio. Courtesy of Souls Grown Deep Foundation. Plate 20. Linda Day Clark, Gee’s Bend Image No. 4, Mary Lee Bendolph (2003). Ink jet print, 32 x 42". Courtesy of Linda Day Clark. Plate 21. Tyree McCloud’s Mural of Mary Lee Bendolph’s “Housetop” variation (1998) on the land beside her home. Photograph by the author. Plate 22. Tyree McCloud’s Mural of Annie Mae Young’s Blocks and Strips (c. 1970) on the land beside her home. Photograph by the author. ...