000			03497nam a2200445Ki 4500
001			ocn976166569
003			OCoLC
005			20240726105027.0
008			170316s2016 ilua ob 001 0 eng d
040			_aNT _beng _erda _epn _cNT
020			_a9780226274737 _q((electronic)l(electronic)ctronic)
043			_an-us---
050	0	4	_aN6538 _b.A943 2016
049			_aMAIN
100	1		_aEnglish, Darby, _d1974- _e1
245	1	0	_a1971: a year in the life of color /Darby English.
260			_aChicago ; _aLondon : _bThe University of Chicago Press, _c(c)2016.
300			_a1 online resource (285 pages) : _billustrations (some color).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aIntroduction: Social experiments with modernism -- _tThe figure of the black modernist -- _tMaking a show of discomposure: Contemporary Black Artists in America -- _tLocal color and its discontents: the DeLuxe show -- _tAppendix: Raymond Saunders, Black is a color.
520	0		_aIn this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists' desire to gain freedom from overt racial representation, as well as their efforts<U+2014>and those of their advocates<U+2014>to further that aim through public exhibition. Amid calls to define a black aesthetic, these experiments with modernist art prioritized cultural interaction and instability. 'Contemporary Black Artists in America' highlighted abstraction as a stance against normative approaches, while 'The DeLuxe Show' positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color's special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists<U+2014>among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas<U+2014>rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture<U+2019>s preoccupation with color.
530			_a2 _ub
650		0	_aAfrican American art _xExhibitions _xHistory.
650		0	_aArt, Abstract _zUnited States _xExhibitions _xHistory.
650		0	_aArt, American _y20th century _xExhibitions _xHistory.
650		0	_aArt and race.
650		0	_aArt and society _zUnited States.
650		0	_aModernism (Art) _xSocial aspects _zUnited States.
650		0	_aNineteen seventy-one, A.D.
650		4	_aAfrican American art _y20th century _vExhibitions.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1334000&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hN. _m2016 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c86479 _d86479
902			_a1 _bCynthia Snell _c1 _dCynthia Snell