Résumé : Tirée à 1000 exemplaires en 1934 et très peu distribuée, jamais rééditée dans son intégralité et dans son intégrité, la Negro, véritable collage-documentaire mêle culture populaire, sociologie, politique, histoire, histoire de l’art. La Negro rassemble archives, rapports, extraits de presse et d’ouvrages, photographies, statistiques, discours politiques, proverbes, tracts, statistiques, poèmes…qui expriment la réalité des conditions noires dans les Amériques, en Afrique et en Europe dans les années trente (...). Les cent cinquante-cinq auteurs de la Negro Anthology sont noirs, blancs, femmes, hommes, engagés ou pas, sportifs, journalistes, anthropologues, historiens, écrivains, poètes, musiciens, chanteurs, universitaires et militants. Certains d’entre eux sont colonisés, discriminés, ségrégués. Negro Anthology est l’oeuvre poético-politique d’une femme. Poète, collectionneuse d’art non occidental, modèle, éditrice et journaliste, Nancy Cunard incarne la modernité des années 20 et réalise un pont unique entre les avant-gardes anglo-saxonne et française. Les textes des francophones (Crevel, Peret…) sont traduits par Beckett.

Résumé : Après l'espoir suscité par la présidence de B. Obama aux Etats-Unis, l'accession au pouvoir de D. Trump a permis de mesurer à quel point les inégalités entre Blancs et Noirs restaient d'actualité. Historien de l'antiracisme, l'auteur retrace l'histoire des idées anti-noires et leur ancrage dans la mentalité états-unienne, à travers le portrait de cinq intellectuels américains. ©Electre 2021

Résumé : Contents : Introduction / Mark Godfrey and Zoé Whitley; Spiral to FESTAC / Mark Godfrey and Zoé Whitley with contributions by Susan E. Cahan : Spiral and the March on Washington ; Art and unrest in Los Angeles ; Amiri Baraka, Larry Neal and the Black Arts Movement ; Roy DeCarava and the Kamoinge Workshop ; The Wall of Respect and the mural movement ; Emory Douglas and the Black Panther Party newspaper ; Painting Black Power ; 'Black Art' debates in pamphlets and magazines ; The Studio Museum in Harlem ; The Black Emergency Cultural Coalition ; Abstraction shows ; AfriCOBRA ; Three graphic artists ; Contemporary Black artists in America ; Black women artists ; Beauford Delaney and James Baldwin ; Avant-garde filmmakers ; Rituals in Los Angeles ; Just above Midtown ; The Black Photographers Annual ; FESTAC '77; Essay : Notes on Black abstraction / Mark Godfrey ; American skin: artists on Black figuration; Recollections : Samella Lewis ; Edmund Barry Gaither ; David C. Driskell ; Jae and Wadsworth Jarrell ; Linda Goode Bryant. The show opens in 1963 at the height of the Civil Rights movement and its dreams of integration. In its wake emerged more militant calls for Black Power: a rallying cry for African American pride, autonomy and solidarity, drawing inspiration from newly independent African nations. Artists responded to these times by provoking, confronting, and confounding expectations. Their momentum makes for an electrifying visual journey. Vibrant paintings, powerful murals, collage, photography, revolutionary clothing designs and sculptures made with Black hair, melted records, and tights – the variety of artworks reflects the many viewpoints of artists and collectives at work during these explosive times. Some engage with legendary figures from the period, with paintings in homage to political leaders Martin Luther King, Malcolm X and Angela Davis, musician John Coltrane and sporting hero Jack Johnson. Muhammad Ali appears in Andy Warhol’s famous painting.(Tate). Soul of a Nation surveys this crucial period in American art history, bringing to light previously neglected histories of 20th-century black artists, including Sam Gilliam, Melvin Edwards, Jack Whitten, William T. Williams, Howardina Pindell, Romare Bearden, David Hammons, Barkley L. Hendricks, Senga Nengudi, Noah Purifoy, Faith Ringgold, Betye Saar, Raymond Saunders, Charles White and Frank Bowling.

Résumé : La 4e de couv. indique : "The first comparative history of African American and Black British artists, artworks, and art movements, Stick to the Skin traces the lives and works of over fifty painters, photographers, sculptors, and mixed-media, assemblage, installation, video, and performance artists working in the United States and Britain from 1965 to 2015. The artists featured in this book cut to the heart of hidden histories, untold narratives, and missing memories to tell stories that "stick to the skin" and arrive at a new "Black lexicon of liberation." Informed by extensive research and invaluable oral testimonies, Celeste-Marie Bernier’s remarkable text forcibly asserts the originality and importance of Black artists’ work and emphasizes the need to understand Black art as a distinctive category of cultural production. She launches an important intervention into European histories of modern and contemporary art and visual culture as well as into debates within African American studies, African diasporic studies, and Black British studies." Among the artists included are Benny Andrews, Bessie Harvey, Lubaina Himid, Claudette Johnson, Noah Purifoy, Faith Ringgold, Betye Saar, Joyce J. Scott, Maud Sulter, and Barbara Walker....

Résumé : Drawing explicit lines, across time and a broad spectrum of violent acts, to provide the definitive field guide for understanding and opposing white supremacy in America. Hate, racial violence, exclusion, and racist laws receive breathless media coverage, but such attention focuses on distinct events that gain our attention for twenty-four hours. The events are presented as episodic one-offs, unfortunate but uncanny exceptions perpetrated by lone wolves, extremists, or individuals suffering from mental illness—and then the news cycle moves on. If we turn to scholars and historians for background and answers, we often find their knowledge siloed in distinct academic subfields, rarely connecting current events with legal histories, nativist insurgencies, or centuries of misogynist, anti-Black, anti-Latino, anti-Asian, and xenophobic violence. But recent hateful actions are deeply connected to the past—joined not only by common perpetrators, but by the vast complex of systems, histories, ideologies, and personal beliefs that comprise white supremacy in the United States. Gathering together a cohort of researchers and writers, A Field Guide to White Supremacy provides much-needed connections between violence present and past. This book illuminates the career of white supremacist and patriarchal violence in the United States, ranging across time and impacted groups in order to provide a working volume for those who wish to recognize, understand, name, and oppose that violence. The Field Guide is meant as an urgent resource for journalists, activists, policymakers, and citizens, illuminating common threads in white supremacist actions at every scale, from hate crimes and mass attacks to policy and law. Covering immigration, antisemitism, gendered violence, anti-Black lynching, and organized domestic terrorism, the authors exhume white supremacy as a motivating force in manifold parts of American life. The book also offers a sampling of some of the most recent scholarship in this area in order to spark broader conversations between journalists and their readers, teachers and their students, and activists and their communities. - Note de l'éditeur

Résumé : L'éditeur indique : "Between 1964 and 1974 Tanzania came to be regarded as a model nation and a leading frontline state in the struggle for African liberation on the continent and beyond. During this time, a number of African American and Caribbean nationalists, leftists, and pan-Africanists traveled to and settled in Tanzania to join the country that many believed to be leading Africa's liberation struggle. This historical study examines the political landscape of that crucial moment when African American, Caribbean, and Tanzanian histories overlapped, shedding light on the challenges of creating a new nation and the nature of African American and Caribbean participation in Tanzania's nationalist project. In examining the pragmatic partnerships and exchanges between socialist Tanzania and activists and organizations associated with the Black power movements in the United States and the Caribbean, this study argues that the Tanzanian one-party government actively engaged with the diaspora and sought to utilize its political, cultural, labor, and intellectual capital to further its national building agenda, but on its own terms, creating tension within the pan-Africanism movement. An excellent resource for academics and nonacademics alike, this work is the first of its kind, revealing the significance of the radical political and social movements of Tanzania and what it means for us today"

Résumé : In the summer of 1967, Detroit experienced one of the worst racially charged civil disturbances in United States history. Years of frustration generated by entrenched and institutionalized racism boiled over late on a hot July night. In an event that has been called a "riot," "rebellion," "uprising," and "insurrection," thousands of African Americans took to the street for several days of looting, arson, and gunfire. Law enforcement was overwhelmed, and it wasn’t until battle-tested federal troops arrived that the city returned to some semblance of normalcy. Fifty years later, native Detroiters cite this event as pivotal in the city’s history, yet few completely understand what happened, why it happened, or how it continues to affect the city today. Discussions of the events are often rife with misinformation and myths, and seldom take place across racial lines. It is editor Joel Stone’s intention with Detroit 1967: Origins, Impacts, Legacies to draw memories, facts, and analysis together to create a broader context for these conversations. In order to tell a more complete story, Detroit 1967 starts at the beginning with colonial slavery along the Detroit River and culminates with an examination of the state of race relations today and suggestions for the future. Readers are led down a timeline that features chapters discussing the critical role that unfree people played in establishing Detroit, the path that postwar manufacturers within the city were taking to the suburbs and eventually to other states, as well as the widely held untruth that all white people wanted to abandon Detroit after 1967. Twenty contributors, from journalists like Tim Kiska, Bill McGraw, and Desiree Cooper to historians like DeWitt S. Dykes, Danielle L. McGuire, and Kevin Boyle, have individually created a rich body of work on Detroit and race, that is compiled here in a well-rounded, accessible volume. Detroit 1967 aims to correct fallacies surrounding the events that took place and led up to the summer of 1967 in Detroit, and to encourage informed discussion around this topic. Readers of Detroit history and urban studies will be drawn to and enlightened by these powerful essays. - Note de l'éditeur

Résumé : As the most famous “conductor” on the Underground Railroad, escaped slave Harriet Tubman earned the nickname “Moses of her People” for leading scores of men, women, and children from bondage to freedom in the North. During the Civil War, she worked as a nurse for wounded soldiers, a caretaker of refugee slaves, and a spy and scout for Union forces. Late in life she was active in the fight for woman suffrage. Mythologized by many biographers and historians, Tubman was an ordinary but complex woman—tiny but strong, guided by her belief in God and religious visions, yet a tough, savvy leader whom the radical abolitionist John Brown admired as “the General.” In 2016, it was announced that Tubman would become the first woman to appear on U.S. currency—the $20 bill—in over a century. Drawing on the latest historical research, Harriet Tubman For Beginners portrays a woman who resisted and transcended slavery and fought injustice her entire life. Beyond legend, she made her mark on history by defending core American principles—life, liberty, and the pursuit of happiness—for others. - Note de l'auteur

Résumé : Featuring works by more than 30 artists and writings by leading scholars and art historians, this book — and its accompanying exhibition, both conceived by the late, legendary curator Okwui Enwezor — gives voice to artists addressing concepts of mourning, commemoration, and loss and considers their engagement with the social movements, from Civil Rights to Black Lives Matter, that black grief has galvanized.