This comprehensive volume features exciting and cultrually diverse serigraphs, offset lithographs, and mixed media prints from the Bradywine Workshop

"The David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora at the University of Maryland has organized an exhibition of prints by David C. Driskell, scheduled to open in October 2007 at its new facility in the heart of the College Park campus and planned to travel to several other venues." --book jacket

This Companion authoritatively points to the main areas of enquiry within the subject of African American art history. The first section examines how African American art has been constructed over the course of a century of published scholarship. The second section studies how African American art is and has been taught and researched in academia. The third part focuses on how African American art has been reflected in art galleries and museums. The final section opens up understandings of what we mean when we speak of African American art. This book will be of interest to graduate students, researchers, and professors and may be used in American art, African American art, visual culture, and culture classes.

"An exhibition that combines a retrospective of Brooklyn's past nineteen National Print Exhibitions with works chosen for the twentieth"--Dustjacket.

Collaborations: Two Decades ofExcellence in African American Art, complete with color reproductions of the artwork of 57 artists who have exhibited in either solo or group exhibitions at Hearne Fine Art, is a vibrant testimonial to the longevity and commitment to excellence that has come to be the hallmark of this gallery. Accompanying the images are brief profiles of the artists as well as their respective statements. Also included are incisive textual contributions from noted appraiser and historian, Halima Taha, PhD and artist Dianne Smith.

An engaging look at early twentieth-century American printmaking, which frequently focused on the crowded, chaotic, and gritty modern city. In the first half of the twentieth century, a group of American artists influenced by the painter and teacher Robert Henri aimed to reject the pretenses of academic fine art and polite society. Embracing the democratic inclusiveness of the Progressive movement, these artists turned to making prints, which were relatively inexpensive to produce and easy to distribute. For their subject matter, the artists mined the bustling activity and stark realities of the urban centers in which they lived and worked. Their prints feature sublime towering skyscrapers and stifling city streets, jazzy dance halls and bleak tenement interiors—intimate and anonymous everyday scenes that addressed modern life in America. True Grit examines a rich selection of prints by well-known figures like George Bellows, Edward Hopper, Joseph Pennell, and John Sloan as well as lesser-known artists such as Ida Abelman, Peggy Bacon, Miguel Covarrubias, and Mabel Dwight. Written by three scholars of printmaking and American art, the essays present nuanced discussions of gender, class, literature, and politics, contextualizing the prints in the rapidly changing milieu of the first decades of twentieth-century America.

This revealing monograph explores how Sinsabaugh's wide format photographs expose the bond between humankind and the earth as suggested by his images of wide horizons, interspersed by skyscrapers, bridges, silos and highways. 96 colour & 200 b/w illustrations