Prints Now by Gill Saunders; Rosie MilesPrintmaking has changed radically in the past two decades: the fine art print now encompasses everything from billboards and badges to clothes, cakes and carrier bags. In a series of case studies dealing with individual artists, new media and techniques, Prints Now explores these new directions and expanded definitions.....Illustrated with one hundred wide-ranging examples, it is not only an invaluable resource for collectors and students of the new, but a revelation about the possibilities and potential of this infinitely flexible, infinitely accessible art form. It is the first general survey of contemporary printmaking to be published for ten years.
In Black and White by Gill Saunders; Zoe WhitleyIn Black and White explores prints from Africa and the African diaspora since 1960. As an accessible medium, print bridges the space between fine and commercial art as a vehicle for expression and carries with it a tradition of satire and protest, both social and political. Above all, prints are a means of communication and cultural exchange and, in the context of Africa and the African diaspora, these qualities have had a particular resonance. This book presents and interprets a variety of visual images from the V&A collections in terms of their political and social context, while also addressing their identity as art and design. It includes prints by Uzo Egonu, Carrie Mae Weems, and Chris Ofili, among others, as well as work with an overt political purpose, such as posters attacking the Apartheid policies of South Africa, and material produced by American Black Power organizations such as the Black Panthers.
Wright presents this collection of six essays on aspects of black history. Each essay is based upon a critical historical methodology that is comprised of, among other things, a racial analysis, an intersectional analysis, rigorous logic, conceptual integrity, and a critical analysis of ideas, words, and images. Critical of the romantic approach to the subject, Wright seeks to uncover a deeper analysis, knowledge, and truth regarding aspects of black history, even when it involves the presentation of material and viewpoints that some might find objectionable. He predicates these pieces on the idea that history is still a valuable subject, firmly rejecting the postmodern view that it has lost its validity. Wright demonstrates that black history is a vital and necessary subject, not only for black people, but for all Americans. A critical black history is itself, Wright contends, a device to evaluate American history in a critical manner, to get into the subject more deeply, and to adduce deeper knowledge and truths about it. These essays show the author's interest in strengthening that critical capacity of black historical writing and his belief that this is a primary and necessary means to maintain the viability and productivity of the academic discipline and to ward off its detractors.
This text explores often-ignored issues of masculinity in the visual arts as well as models and concepts of masculinity in literature, film and the mass media. Drawing on the work of feminist and gay studies and the work being done in psychology, sociology, and gender studies, the essays analyze the conventional and limited definition of masculinity as a social and cultural construct. They seek to expand that definition to include multiple masculinities and factors such as race, class, ethnicity and object choice.
White on Black by Jan Nederveen PieterseWhite on Black is a compelling visual history of the development of Western stereotypes of black people over the last two hundred years. Its purpose is to show the pervasiveness of prejudice against blacks in Europe and America as expressed in stock-in-trade racist imagery and caricature. Reproducing a wide range of powerful illustrations - from engravings and lithographs to advertisements, chocolate wrappers, biscuit tins, dolls, posters and comic strips - the book exposes the hidden assumptions of even those who view themselves as unprejudiced." "Jan Nederveen Pieterse sets Western images of Africa and blacks in a chronological framework, analysing representations from medieval times, from the colonial period with its explorers, settlers and missionaries, from the eras of slavery and abolition, and from the present day. He examines the persistence of stereotypical images in the multicultural societies of the twentieth century, and in their relations with Africa." "Pieterse reveals the key images by which Blacks have commonly been depicted in the West: as servants, entertainers, and athletes, and as mythical figures such as Sambo and Uncle Tom in the United States, Golliwog in Britain, Bamboula in France and Black Peter in The Netherlands. Looking at conventional portrayals of blacks in the nursery, in the area of sexuality, and in commerce and advertising, Pieterse explores the conceptual roots of these recurring stereotypes." "The images presented in the book, selected from a substantial collection of negrophilia from around the world, have a direct and dramatic impact. They raise disturbing questions about the expression of power within popular culture, and the force of caricature, humour and parody as instruments of oppression.