Published in The Crisis of October 1926, DuBois initially spoke these words at a celebration for the recipient of the Twelfth Spingarn Medal, Carter Godwin Woodson. The celebration was part of the NAACP’s annual conference and was held in June 1926.
Art and Labour
From the canonical texts of the Arts and Crafts Movement to the radical thinking of today’s “DIY” movement, from theoretical writings on the position of craft in distinction to Art and Design to how-to texts from renowned practitioners, from feminist histories of textiles to descriptions of the innovation born of necessity in Soviet factories and African auto-repair shops, The Craft Reader presents the first comprehensive anthology of writings on modern craft. Covering the period from the Industrial Revolution to today, the Reader draws on craft practice and theory from America, Europe, Asia and Africa. The world of craft is considered in its full breadth — from pottery and weaving, to couture and chocolate-making, to contemporary art, architecture and curation. The writings are themed into sections and all extracts are individually introduced, placing each in its historical, cultural and artistic context. Bringing together an astonishing range of both classic and contemporary texts, The Craft Reader will be invaluable to any student or practitioner of Craft and also to readers in Art and Design.
Beyoncé and Jay-Z’s Tiffany Advert Criticized by Friends of Basquiat
Close friends of artist Jean-Michel Basquiat have spoken out against the advert from jewellers Tiffany which features Beyoncé and Jay-Z posing in front of one of his paintings saying it was “not really what he was about”. Basquiat’s 1982 work Equals Pi sits behind the couple in the campaign as Beyoncé wears a 128.54-carat yellow diamond, the first black woman to have done so.
Art on My Mind: Visual Politics
In Art on My Mind, bell hooks, a leading cultural critic, responds to the ongoing dialogues about producing, exhibiting, and criticizing art and aesthetics in an art world increasingly concerned with identity politics. Always concerned with the liberatory black struggle, hooks positions her writings on visual politics within the ever-present question of how art can be an empowering and revolutionary force within the black community.
A Lady in the Street But a Freak in the Bed: On the Distinction Between Erotic Art And Pornography
How, if at all, are we to distinguish between the works that we call ‘art’ and those that we call ‘pornography’? This question gets a grip because from classical Greek vases and the frescoes of Pompeii to Renaissance mythological painting and sculpture to Modernist prints, the European artistic tradition is chock-full of art that looks a lot like pornography. In this paper I propose a way of thinking about the distinction that is grounded in art historical considerations regarding the function of erotic images in 16 th -century Italy. This exploration suggests that the root of the erotic art/pornography distinction was—at least in this context—class: in particular, the need for a special category of unsanctioned illicit images arose at the very time when print culture was beginning to threaten elite privilege. What made an erotic representation exceed the boundaries of acceptability, I suggest, was not its extreme libidinosity but, rather, its widespread availability and, thereby, its threat to one of the mechanisms of sustaining class privilege.
High Art, Low Art, and the Status of Aesthetics
In this blogpost, King introduces the distinction between high art/highbrow and low art/lowbrow things both in terms of historical and social underpinnings. However King suggests that the distinction need not be cashed out simply in terms of what kinds of objects we choose to experience (e.g. fine wines vs. beer), but should also be understood in terms of the mode of appreciation or engagement we choose or endorse when experiencing certain objects. For instance, we can have a higbrow mode of appreciation towards an object usually considered lowbrow (and vice versa).
La Negra as Metaphor in Afro-Latin American Poetry
Carter examines the anti-Black sentiment in Latin American culture and pays particular attention to how, even in negrista poetry aimed at contributing to the fight against oppression of Black people, Black women are used as a symbol of sensuality and primitiveness. The paper argues that when Black women feature in poetry in the figure of la mulata, they are associated with nature and portrayed as inherently evil, sensual and primitive. Moreover, while representations of Black men evolved to focus on their inner consciousness, rather than on their physical attributes, and to combat oppressive imagery and symbolism, la mulata continued being used as a satire aimed at inviting Afro-Latin communities to take positive steps towards improving their social conditions. They were used to advance a criticism for how the anti-Black sentiment at the heart of popular conceptions of mestizaje ends up being internalized by members of Afro-Latin communities, so that Black women are represented as renouncing Blackness and engaging in a “whitening” process.
Indigenous Inclusion/Black Exclusion: Race, Ethnicity, and Multicultural Citizenship in Latin America
This article analyses the causes of the disparity in collective rights gained by indigenous and Afro-Latin groups in recent rounds of multicultural citizenship reform in Latin America. Instead of attributing the greater success of indians in winning collective rights to differences in population size, higher levels of indigenous group identity or higher levels of organisation of the indigenous movement, it is argued that the main cause of the disparity is the fact that collective rights are adjudicated on the basis of possessing a distinct group identity defined in cultural or ethnic terms. Indians are generally better positioned than most Afro-Latinos to claim ethnic group identities separate from the national culture and have therefore been more successful in winning collective rights. It is suggested that one of the potentially negative consequences of basing group rights on the assertion of cultural difference is that it might lead indigenous groups and Afro-Latinos to privilege issues of cultural recognition over questions of racial discrimination as bases for political mobilisation in the era of multicultural politics.
Seven Interpretative Essays on Peruvian Reality
In this essay, Mariátegui offers an analysis of Peruvian literary practices and a criticism of some of its central figures. He argues that what has been construed as a “national literature” erases the contributions of Indigenous cultures to Peruvian identity, and, in doing so, it partly contributes to the marginalization of Indigenous Peruvians.
The Inner Life of Mestizo Nationalism
Tarica examines Rosario Castellanos’ Indigenism in her literary work, particularly in her fictional autobiography Balún Canán (The Nine Guardians). Tarica argues that the novel is an examination of the interaction of Castellanos’ mestiza and female identities, and that it concludes with the constitution of an “utterly lonely figure”. Nevertheless, Tarica argues that the inclusion of other protagonists, such as the protagonist’s Mayan nanny, allow for Castellanos to examine the coloniality of power and the appropriation of indigenous identities. According to Tarica, this allows Castellanos to present the protagonist not as a heroine, but as an antiheroine that offers an “absolutely partial version of national events”, and who manages to affirm herself only in “a place of solitary wandering: Uranga’s Nepantla as in-betweenness.