Afro-American Art: A Bibliography

National Art Education Association

Afro-American Art: A BibliographyAuthor(s): Ralph M. HudsonSource: Art Education, Vol. 23, No. 6 (Jun., 1970), pp. 20-25Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3191483 .

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I



One of the remarkable and important developments in art in the twentieth century is the upsurge of interest in the work of Afro-American artists during the last decade and especially in the last three years. Public museums, university galleries, and most significantly, private sales galleries, are vying with each other in initiating shows of Afro- American Art or in scheduling the several traveling shows now on the road. In 1876 Edward M. Bannister of Provi- dence, R.I., won a major award for a landscape in the Philadelphia Centennial. When he went to claim his award, it was at first refused because he was a Negro. We can contrast this incident with the present day eager- ness of a number of major galleries to exhibit the work of Black artists. When the Whitney Museum did not include the work of any Afro-American artists in its 1968 show of the art of the 1930's in America, a counter show titled "Invisible Americans: Black Artists of the 30's" was almost immediately organized for the newly established Studio Museum in Harlem, itself a landmark in Afro- American Art. Even in the field of African Art, which has had a period of long acceptance, the tempo of both exhibition and publication activity has increased.

Publications, in addition to exhibition catalogs, on Afro- American artists, including works on individual artists, have multiplied in the past three years at an increasing rate.

The achievements of Americans of African descent in the fields of music and literature have been recognized for a number of years while the substantial achievements of Afro-Americans in the visual arts have been given little attention until recently even in Negro publications.

As public schools become more fully integrated in the North as well as in the South, the inclusion of the work of Black artists in the content of art appreciation studies and experiences through examples of work being on view in addition to audio-visual presentations, becomes increas- ingly important. Such exemplars provide opportunities for identification of a desirable and constructive kind on the

part of the Afro-American children and help provide an additional basis for mutual respect on the part of all the students.

Art as an area important in the education of disadvan-

taged or socially deprived children is a subject that has received some attention in recent years; this is reflected in the section on Art Education in this bibliography. Afro- American Art as a segment of art study, per se, in the

public schools is beginning to be utilized in scattered school systems. Probably little use is as yet being made of Afro-American Art, not considered.in isolation, but in 21



the context of art in the United States. The same thing could be said of African Art integrated into the context of World Art. The extent to which Afro-American Art and African Art can be or should be woven into the fabric of American Art and of World Art for best utilization in aesthetic education in the public schools is a field that is open for investigation. The lack of studies in this direc- tion is indicated in the Art Education listings in the bibliography.

The achievements of Afro-American artists, past and present, revealed in the books, articles, and exhibition catalogues listed in the bibliography, deserve the admira- tion and respect of all Americans of whatever origin. Since all sincere art comes out of the life experience of the artist, the work of Afro-American artists projects meaning, ideas, and feelings important for all Americans in the 1970's to sense and comprehend.

The study of which this compilation is a part has been made possible by a grant to the writer from the Univer- sity of Alabama in Huntsville Research Committee.

Art .ducation

* Alper, Thelma G., et al, "Reactions of Middle and Lower Class Children to Finger Paints as a Function of Class Differences in Child-Training Practices." Journal of Abnormal and Social Psy- chology, No. 51, 1955, pages 439-448. * Barclay, Doris, A Pilot Study of Art Education for the Eco- nomically and Socially Deprived Child. Final Report, December, 1966. U. S. Office of Education Project No. 5-8294. (Same: California State College at Los Angeles, November, 1965-August, 1966, ERIC: ED 010 554, MF-$0.25, HC-$2.16). * Barclay, Doris, ed., Art Education for the Disadvantaged Child. Washington, D. C., National Art Education Association, 1969, Six articles on the role of art education in enhancing the education of children from areas that are economically distressed. Thirty-two pages. Available at $0.60 from NAEA. * Board of Public Education, Art Teacher's Guide. to African and Afro-American Art. Pittsburgh, Pennsylvania, Board of Public Edu- cation, November, 1968. A revision is currently in progress of the preliminary guide of November, 1968. * Carr, Pete, and Clements, Robert, The Relation of Quality of Art Works to Socio-economic Variables, Two Motivational Variables, and Two Budget Variables. Final Report, November, 1967. U. S. Office of Education Project No. 6-8333. * Clark, Kenneth, Dark Ghetto. New York, Harper Torch Books, 1965. Written by a Negro psychologist. * Clark, Kenneth, and Clark, Mamie P., "Emotional Factors in Racial Identification and Preference in Negro Children." Journal of Negro Education, Vol. 19, 1950, pages 341-350. * Cohen, Elaine Pear, "Color Me Black." Art Education, April, 1969, Vol. 22, No. 4, pages 7-8. * Cole, Natalie Robinson, Arts in the Classroom. New York, Day, 1942. The value of creative art experiences in promoting self-esteem in "chldren with problems." * Deutsch, Cynthia P., "Effects of Environmental Deprivation on Basic Psychological Processes." Art Education, Vol. 22, No. 1, Janu- ary, 1969, pages 18-20. * Deutsch, Martin, Minority Group and Class Status as Related to Social and Personality Factors in Scholastic Achievement. Ithaca, New York, Society for Applied Anthropology, 1960. Monograph No. 2. * Deutsch, Martin, "The Disadvantaged Child and the Learning Process." Education in Depressed Areas, ed. Harry A. Passow. New York, Bureau of Publications, Teacher's College, Columbia Uni- versity, 1963, pages 163-179. * Diamond, Florence, A Study of the Effectiveness of a Children's Workshop in the Creative Arts in Forwarding Personal and Intel- lectual Development. Pasadena, Pasadena Art Museum, 1965. The integrated art workshops involved deprived children. This research is summarized by the author in Studies in Art Education, Vol. 11, No. 1, fall, 1969, pages 52-60. * Eisner, Eliot, A Comparison of the Developmental Drawing 22

Characteristics of Culturally Advantaged and Culturally Disadvan- taged Children, Final Report. September, 1967. U:S. Office of Edu- cation Project No. 3086. (Same: Stanford University, California, November, 1965-November, 1966, ERIC: ED 015 783, MF-$0.75, HC-$5.64). Summarized in Studies in Art Education, Vol. 11, No. 1, fall, 1969, pages 5-19. * Elsen, Albert, "A Volunteer Program for College Art Teachers." Art Journal, Vol. XXIX, No. 1, fall, 1969, page 106. Developing program of College Art Association in listing volunteer consultants willing to help "small underprivileged colleges" (primarily colleges for Negroes). * Frazier, Stephen, "Me, Design and Niggertown Slums." Design Course (Purdue University), Vol. 1, No. 3, fall, 1969, pages 23-24. Frazier, a Black designer, describes the "Youth Motivation Pro- gram" he directs, sponsored by the Container Corporation of America in which he conducts a "Soul Experience" in Ghetto high schools that centers around a search for individualism and self- pride. * Glazer, Nathan, and Moynihan, Daniel Patrick, Beyond the Melting Pot. Cambridge, Massachusetts, MIT Press, 1963. * Grigsby, J. Eugene, Jr., "GDAT." Art Education, Vol. 22 No. 7, October, 1969, pages 14-18. Student art teachers at Arizona State University apply "Give a Damn" program ideas in a Juvenile Home. * Hess, Robert D., The Use of Art in Compensatory Education Projects, An Inventory. Urban Child Center, University of Chicago. University of Chicago Press, 1966. Seventy-four projects are described. * Heussenstamm, Frances K., "Digest and Review: A Seminar on the Role of the Arts in Meeting the Social and Educational Needs of the Disadvantaged." Studies in Art Education, Vol. 11, No. 1, fall, 1969, pages 34-43. The Seminar, sponsored by the Brooklyn Museum, under auspices of the Arts and Humanities Program of the U. S. Office of Education, met November 15-19, 1966. The report is available from ERIC, Number: ED 011 073. * Ianni, Francis A. J., "The Arts as Agents for Social Change: an Anthropologist's View." Art Education, Vol. 21, No. 7, October, 1968, pages 15-20. * Johnson, Charles S., "The Education of the Negro Child." Opportunity, Vol. XIV, No. 2, February, 1936, pages 3841, 61. An attempt to adapt to the dualism considered feasible in the 1930's. * Locke, Alain, "The Negro in the Three Americas." Journal of Negro Education, winter number, 1944. * Mc Cullen, John C., and Plant, Walter T., "Personality and Social Development: Cultural Differences." Review of Educational Re- search, December, 1964, pages 599-610. * Mc Fee, June King, "Art for the Economically and Socially De- prived." Art Education, Sixty-fourth Yearbook of the National Society for the Study of Education, Part II, ed. Reid Hastie. Chi- cago, University of Chicago Press, 1965, pages 153-174. * Murphy, Judith, and Gross, Neal, The Arts of the Poor. Wash- ington, D. C., Superintendent of Documents, June, 1968. $0.40 from Superintendent of Documents, catalogue No. FS 5.237:37016. An edited seminar on the Role of the Arts in Meeting Social and Edu- cational Needs of the Disadvantaged. (Same: ERIC: ED 011 073, MF-$1.25, HC-$13.12). * National Art Education Association, Studies in Art Education, Vol. 11, No. 1, fall, 1969. This issue is devoted to art and the disadvantaged, a category that includes Negro youth. * Nearine, Robert J., "Hope in Our Time, Some Explorations into Compensatory Education." Art Education, May, 1969, pages 7-8. Part 6 (Conclusion): "Art Education for the Disadvantaged Child." Pro- grams in Hartford, Connecticut, are described. * Passow, Harry A. (ed.), Education in Depressed Areas. New York, Bureau of Publications, Teacher's College, Columbia University, 1963. * Povey, John F., "African Art in the Classroom." Art Education, April, 1969, Vol. 22, No. 4, pages 13, 15, 26. * Rainwater, Lee, "The Negro American-2." Daedalus, winter, 1966. Written from the standpoint of a sociologist. * Reisman, Frank, The Culturally Deprived Child. New York, Harper and Brothers, 1962. * Rennels, Max Raymond, "Two Methods of Teaching Spatial Tasks to Disadvantaged Negroes." Studies in Art Education, Vol. 11, No. 1, pages 44-51. * Rose, Hanna Toby, A Seminar on the Role of the Arts in Meet- ing the Social and Educational Needs of the Disadvantaged. Brooklyn Museum, 1967. Report, Project No. 7-0254, U.S. Office of Education. (Same: Brooklyn Museum, New York, October 1966- April 1967, ERIC: ED 011 073, MF-$1.25, HC-$13.12). * Rouse, Mary J., and Reynolds, Douglas, "Art Education in the Negro Colleges." Arts and Society, Fall-Winter, 1968, pages 419-430. * Rouse, Mary J., Art Programs in Negro Colleges. Bloomington, Indiana, Indiana University, 1967. Final Report, Research Project No. 3159, U.S. Office of Education. (Same: Indiana University,



Bloomington, September, 1966- April, 1967, ERIC: ED 013 859, MF- $0.75, HC-$7.12). * Silverman, Ronald H., Hoepfner, Ralph, and Hendricks, Moana, "Developing and Evaluating Art Curricula for Disadvantaged Youth." Studies in Art Education, Vol. 11, No. 1, fall, 1969, pages 20-33. * "Studio Watts Learning Center for the Arts." Art Journal, Vol. XXIX, No. 1, Fall, 1969, pages 35. * U.S. Department7 of Health, Education, and Welfare, National Conference on Education of the Disadvantaged. Washington, D.C., Office of Education, 1966, Publication: OE-37004. * Witty, Paul A. (ed.), The Educationally Retarded and Disad- vantaged, Sixty-sixth Yearbook of the National Society for the Study of Education. Chicago, University of Chicago Press, 1967.

Books and Monographs

* Bearden, Romare, and Holty, Carl, The Painter's Mind. New York, Crown Publishers, Inc., 1969. A study of the relations of structure and space in painting. Illustrated. * Beier, Ulli, Contemporary Art in Africa. New York, Frederick A. Praeger, 1968. A comparison of contemporary African art and contemporary Afro-American art indicates the significance of "Ameri- can" in the term "Afro-American" as applied to art. * Brawley, Benjamin G., The Negro Genius. New York, Dodd, Mead & Co., 1937. American Negro in literature and the fine arts. * Brawley, Benjamin G., The Negro in Literature and Art in the United States. New York, Dodd, Mead & Co., 1934. * Brown, Evelyn S., Africa's Contemporary Art and Artists. New York, Division of Social Research and Experimentation, Harmon Foundation, 1966. Work in painting, sculpture, ceramics and crafts by more than 300 artists reviewed. * Brown, Sterling, Davis, Arthur, and Lee, Ulysses, The Negro Caravan. New York, Dryden, 1941. * Butcher, Margaret Just and Locke, Alain, The Negro in American Culture. New York, Knopf, 1956. Based on materials left by Alain Locke. * Burroughs, Margaret, et al, National Conference of Negro Artists. Atlanta, Atlanta University, 1959. * Casey, Bernie, Look at the People (Poems and Paintings). New York, Doubleday, 1969. Casey is a Black artist and professional football player (Los Angeles Rams). * Colloquium: Function and Significance of African Art in the Life and for the Life of the People. First Festival of Negro Arts, Dakar, 1966. Paris, 1967. Includes the meeting of African and Western art and Modern African art. * Dawson, Charles, "The Negro in Art." Negro Year Book, Tuske- gee, Ala., Tuskegee Institute, 1947. * Dover, Cedric, American Negro Art. New York, New York Graphic Society, 1960. (Reprinted 1965). One of the major sources of information on and examples of Afro-American Art. * Eliot, Alexander, Three Hundred Years of American Painting. New York, Time, Inc., 1957. Includes data and illustrations for Pippin and Lawrence. * Ellison, Ralph, Invisible Man. New York, Random House, 1952. (Signet paperback reprint edition by New American Library). Re- vealing story of search for identity and the problems inherent in dualism which are reflected in contemporary Afro-American art. * Ellison, Ralph, Shadow and Act. New York, Random House, 1964. (Also available as Signet paperback reprint by New American Library). Essays on Negro literature, etc., and relationships of Negro American subculture to North American culture in general. * Frederick Douglass Institute - Museum of African Art, Afro- American Panorama. n.d. An illustrated survey of 24 pages of out- standing contributions to the development of the United States, produced for the Public Schools of the District of Columbia by the Interdisciplinary Resources Center on the Negro Heritage. An ESEA Title III Project. Includes: Artists, Writers, Drama, and Music. ? 50 American Masterpieces. Shorewood Publishers, 1968. "Vic- torian Interior" by Horace Pippin included in the 50 large color reproductions. * Fishel, Leslie H., Jr., and Quarles, Benjamin, The Black Ameri- can. Glenview, Ill., Scott, Foresman and Co., 1970. Paper covers. Includes a small section on the Negro Renaissance in the literary arts. * Frazier, E. Franklin, Race and Culture Contacts in the Modern World. New York, Knopf, 1957. * Fuller, Thomas 0., Pictorial History of the American Negro. Memphis, Tenn., Pictorial History, Inc., 1933. Ch. XIII includes Negroes in music and art. * Gaskin, L. J. P., A Bibliography of African Art. London, Interna- tional African Institute, 1965. * Goldwater, Robert, Primitivism in Modern Art. New York,

Vintage Books (Division of Random House), 1967. * Goode, Kenneth G., From Africa to the United States and Then . . . Glenview, Ill., Scott, Foresman and Co., 1969. Paper covers. Includes a brief introductory section on the West African kingdoms. * Homer, Dorothy and Robinson, Evelyn, The Negro: A Selected Bibliography. New York, The New York Public Library, 1955. * Hughes, Langston, and Meltzer, Milton, Black Magic: A Pictorial History of the Negro in American Entertainment. Englewood Cliffs, N.J., Prentice-Hall, 1967. * Hughes, Langston, and Meltzer, Milton, A Pictorial History of the Negro in America, third revised edition by C. Eric Lincoln and Milton Meltzer. New York, Crown Publishers, 1968. The visual arts are largely ignored. * Janis, Sidney, They Taught Themselves. New York, Dial Press, 1942. Includes work of Horace Pippin, Flora Lewis, and Cleo Craw- ford. * Larkin, Oliver W., Art and Life in America, rev. ed. New York, Holt, Rinehart and Winston, 1960. Several AfrQ-American artists are mentioned with illustrations of their work. Most are taken to task by the author for not being vehement enough in the social protest content of their work. * Lawrence, Jacob, "Harriet and the Promised Land," a story of Harriet Tubman, as told in 18 painting reproductions from the artist's Harriet Tubman series. Windmill Books, Inc., Sept. 1968. * Lewis, Samella S., and Waddy, Ruth G., Black Artists on Art, Vol. 1. Los Angeles, Calif., Contemporary Crafts, 1969. Paper covers. Profusely illustrated. * Locke, Alain, The Negro in Art. Washington, D.C., Associates in Negro Folk Education, 1940. Reprinted 1960 by Hacker Art Books, New York. * Locke, Alain, Negro Art: Past and Present. Washington, D.C., Associates in Negro Folk Education, 1936. * Locke, Alain, ed., The New Negro: An Interpretation. New York, Arno Press, 1968. Reprint of 1925 ed. published by A. & C. Boni. The American Negro, his history and literature. Locke states his posi- tion on "The Legacy of the Ancestral Arts" in this book. * Logan, Rayford, and Cohen, Irving, The American Negro: Old World Background and New World Experience. Boston, 1968. * Logan, Rayford, The Negro in American Life and Thought: The Nadir, 1877-1901. New York, Dial Press, 1954. * Mathews, Marcia M., Henry Ossawa Tanner: American Artist. Chicago, University of Chicago Press, 1969. Tanner (1859-1937) was first Negro American artist to achieve international distinction. This is one of the new series on "Negro American Biographies and Autobiographies" being published by the University of Chicago Press. * Pinchbeck, R. B., The Virginia Negro Artisan and Tradesman. Richmond, William Byrd's Press, 1926. * Porter, James A., "Henry O. Tanner." The Negro Caravan. New York, The Dryden Press, 1942, pages 959-967. * Porter, James A., Modern Negro Art. New York, The Dryden Press, 1943. A revision of this book was in progress when Professor Porter died, Feb. 28, 1970. * Robbins, Warren, African Art in American Collections. New York, Praeger, 1966. * Rodman, Selden, Horace Pippin: A Negro Painter in America. New York, Quadrangle Press, 1947. * Thompson, Robert Farris, "African Influence on the Art of the United States." Black Studies in the University, A Symposium edited by Armstead L. Robinson, et al, New Haven, Yale University Press, 1969, pages 122-170. * Trowell, Margaret, African Design. New York, Paeger, 1966. 2nd ed. * United States Information Service, Negroes Enter Main Stream of American Art. USIS, 1958. * (White, Charles). Images of Dignity, the Drawings of Charles White. Los Angeles, Ward Ritchie Press, 1967. Foreword by Harry Belafonte, Introduction by James Porter, commentary by Benjamin Horowitz. * Wight, Frederick S., "Jacob Lawrence," New Art in America, ed. John I. H. Baur, New York, New York Graphic Society, 1957, pages 272-275. * Worldwide Books, Primitive Art (Africa, Oceania, Pre-Columbian Hispanic America, North America, and General). New York, World- wide Books, Inc., 1969. Annotated selected list of in-print books on Primitive Art.

Exhibition Catalogues

* Afro-Haitian Images & Sounds Today, The Studio Museum in Harlem, New York, Feb. 14-March 30, 1969. * Charles Alston. Catalogue of exhibition sponsored by Fairleigh

23



Dickinson University, Gallery of Modern Art, New York, Dec. 3, 1968-Jan. 5, 1969. * Alston, Charles, Exhibition of Paintings, Sculpture, Drawings and Watercolors. Exhibition catalogue. New York, John Heller Gallery, 1958. * Atlanta University, Atlanta University Bulletin. July issue has carried accounts of Atlanta University Art Exhibitions, a series that began as early as 1942. * Edward M. Bannister, Exhibition catalogue. Providence, R. I., Rhode Island School of Design, March 23-April 3, 1966. * Romare Bearden, Art Gallery, State University of New York, Albany, Nov. 25-Dec. 22, 1968. Introduction by Ralph Ellison; ten collage compositions reproduced in b/w. * Burke, Selma, Sculptures and Drawings. Exhibition catalogue. New York, Avant-Garde Gallery, 1958. * Contemporary Black Artists. Catalogue of exhibition circulated from Oct. 17, 1968 to May 29, 1969, as "30 Contemporary Black Artists," and from July 1, 1969 to Oct. 29, 1970, as "Contemporary Black Artists." Exhibit organized and catalogue produced (1969) by Ruder & Finn Fine Arts, New York. Initial exhibit: "New Voices: 15 New York Artists," of 1968 was expanded by Ruder & Finn for the Minneapolis Institute of Fine Arts into "30 Contemporary Black Artists." Set of 47 color slides of work in this exhibition with commentary by Dr. Marshall W. Fishwick (Lincoln University) is now available from Sandak, Inc. * Crichlow, Ernest, Paintings and Drawings. Exhibition catalogue. New York, ACA Gallery, 1960. Introduction by Lena Home. * Dempsey, Richard, Recent Paintings. Exhibition catalogue. Wash- ington, D.C., Franz Bader Gallery, 1959. * The Evolution of Afro-American Artists: 1800-1850. Catalogue of exhibition at Great Hall, City College, New York, 1967. Romare Bearden and Carroll Greene, Jr., co-directors. Sponsored by City University of New York, Urban League, and Harlem Cultural Council. Illustrated, with biographical data on artists. * Exhibition of Graphic Arts and Drawings by Negro Artists. Catalogue of Exhibition, Howard University, Washington, D.C., Jan. 5-Feb. 29, 1950. * Festival of the Arts. Lincoln University, Jefferson City, Mo., 1970 (Dec. 14-March 7). Artists exhibiting in the Festival include: Ander- son Macklin, Patricia Behler, and Lonnie Powell. * Fine Arts Festival, Program. Jefferson City, Mo., Lincoln Univer- sity, 1969. Hayward L. Oubre wire sculpture illustrated. * Four Artists. Indiana University Art Museum, Bloomington, April 13-May 11, 1969. John Dowell, Richard Hunt, Robert Reed, Robert Stull. * Georgia Museum of Art, A University Collects. Athens, Georgia, University of Georgia, 1969. Catalogue of exhibition circulated by American Federation of Arts, 1969-70. Includes "Children at Play", 1967, by Jacob Lawrence. * Ben Jones and Joe Overstreet. The Studio Museum in Harlem, Oct. 26-Nov. 23, 1969. * Harlem Artists 69. The Studio Museum in Harlem, New York, July 22-Sept. 7, 1969. * Harmon Foundation, N. Y. Catalogues of Exhibitions by Negro artists, published for several years, including late 1920's and early 1930's. * Harmon Foundation, William H. Johnson, An Artist of the World Scene. New York, Harmon Foundation, n.d. * Hooks, Earl. Fifth Biennial Ceramic Exhibition. Indianapolis, John Herron Art Museum, 1959. 18 pieces by Hooks illustrated. * Hunt, Richard, Sculpture. Exhibition catalogue. New York, Alan Gallery, 1958. Ten reprcductions. * Jack Jordan. Black and Beautiful: Paintings, Sculpture, Graphics Exhibition. Southern University, New Orleans, Library Gallery, December, 1969. * Lawrence, Jacob, The Toussaint L'Ouverture Series. Catalogue of an exhibition at Fisk University, Nashville, Dec. 8-30, 1968. The 41 paintings (11"xl9") given by the Harmon Foundation to Fisk University are listed. This series, done in 1938, was the first of the noted series on Negro themes by the artist. * Lee-Smith, Hughie. Catalogue of Paintings. Washington, D.C., Howard University, Gallery of Art, 1958. Introduction by James A. Porter. * Richard Mayhew, Midtown Galleries, New York, Nov. 5-29, 1969. * Middleton, Samuel. Exhibition. New York, Contemporary Arts, 1958. * Negro History Associates, An Introduction to the Negro in Amer- ican History, an exhibition at New York Cultural Center of Fair- leigh Dickinson University (formerly Gallery of Modern Art), Fall, 1969. Illustrated informative folder issued. * The Negro in American Art, Exhibition catalogue. University of California in Los Angeles, Art Galleries, Los Angeles, 1966. Includes: 24

"One Hundred and Fifty Years of Afro-American Art" by James A. Porter, pages 5-12. * New Black Artists. Catalogue of an exhibition organized by the Harlem Cultural Council in cooperation with the School of the Arts and the Urban Center of Columbia University. Brooklyn Museum, Oct. 7-Nov. 9, 1969; Columbia University, Nov. 20-Dec. 12, 1969. * 1969: Twelve Afro-American Artists. Catalogue of exhibition that originated in Lee Nordness Galleries, New York, Jan. 22, 1969, and was later shown at Gimbel's Department Store, New York. An abridged edition was assembled by the Smithsonian Institution and the Nordness Galleries for showing in Washington, D.C., and, with some deletions, on a two year tour. Sponsored by the NAACP Special Contributions Fund. Catalogue illustrated in color and b/w available at $2.00 from NAACP, 1790 Broadway, New York, N.Y. 10019. * Objects: USA. The Johnson Collection of Contemporary Crafts. Organized by Lee Nordness Galleries, N.Y.C., for Johnson Wax Co. National tour started at Smithsonian (National Gallery of Fine Arts), Washington, D.C., Oct.-Nov., 1969. Book on this collection by Lee Nordness to be published by Viking Press. Exhibition includes work by Black artists. i Phillips Memorial Gallery, Three Negro Artists: Horrace Pippin, Jacob Lawrence and Richmond Barthe. Washington, D.C., 1946. * Ray Saunders, Beaumont-May Gallery, Hopkins Center, Dart- mouth College, Hanover, N.H., May 15-June 8, 1969. * Ben Shahn on Human Rights. Catalogue of Exhibition by the artist selected from a previous exhibition (1967) at the Philadelphia Museum of Art, n.d. Frederick Douglass Institute, Washington, D.C. * 6 Black Artists. Exhibition list, Beaumont-May Gallery, Hopkins Center, Dartmouth College, Hanover, N.H., Jan. 10-31, 1968. * Art of Henry O. Tanner. Exhibition Catalogue. Washington, D.C., National Collection of Fine Arts, Smithsonian Institution, July 23- Sept. 7, 1969. * Ten Afro-American Artists of the Nineteenth Century, Howard University, Washington, D.C., Feb. 3, March 30, 1967. Introduction by James A. Porter. * Ten Negro Artists from the United States (Dix Artistes Negres des Etats-Unis). The First World Festival of Negro Arts, Dakar, Senegal, April, 1966. United States Committee for the First World Festival of Negro Arts, Inc., 1966. (October House, 1966, paper covers.) * 39th Arts Festival Exhibition, Art Gallery, Fisk University, Nash- ville, Tennessee, April 21-May 17, 1968. Catalogue of exhibition of sculpture by Richard Hunt and paintings by Sam Middleton. * Bob Thompson, New School Art Center, New York, Feb. 11- March 6, 1969. Foreword by Paul Mocsanyi. 28 paintings illustrated, one in color. * 3 Afro-Americans. Catalogue of exhibition of Merton Simpson, Earl Hooks and Bobby Sengstacke, Fisk University, Nashville, Tenn., April 20-May 15, 1969. * Charles White. Catalogue of an exhibition of drawings shown at Howard University, Washington, D.C., Sept. 22-Oct. 25, 1967; Morgan State College, Baltimore, Nov. 1-24, 1967; Fisk University, Nashville, Dec. 4-Jan. 4, 1968. Biographical essay by Benjamin Horowitz. * White, Charles, Drawings and Prints. Exhibition catalogue. New York, ACA Gallery, 1958. Introduction by Harry Belafonte.

Periodicals and Related Material

* African Arts/Arts d'Afrique. Quarterly. Published by the African Studies Center of the University of California at Los Angeles. Ar- ticles on African art of both the past and present included, lavishly illustrated. * "Africa and Afro-American Art: the Transatlantic Tradition," an exhibition organized by Robert F. Thompson of Yale University at Museum of Primitive Art, New York, and later shown at Albright- Knox Gallery, Buffalo. Listed in Art Journal, spring 1969, page 320, and Art Journal, winter 1968-69, page 222. A book by Thompson on this exhibition theme is scheduled to be published by New York Graphic Society. * "American Revolution, 1963." Motive, October, 1963. Cover illus- tration painted by Jacob Lawrence for this issue of Motive. * Arnes, Winslow, "Richmond Barthe." Parnassus. Vol. XII, March, 1940. * ". .. And the Migrants Kept Coming." A Negro artist paints the story of the great American minority. Fortune Magazine, Nov., 1941, pages 102-122. Twenty-six paintings by Jacob Lawrence from his Mi- gration series are reproduced. * L'Art Negre. Paris. Reprint, 1966 (orig. 1951). Reprint of 2 vol. issue of review Presence Africaine. * "Artist in an Age of Revolution: A Symposium." Arts and So- ciety, Summer-Fall, 1968, pages 219-37. * "Art of Africa." Maryknoll, Dec., 1968, pages 12-16. Contemporary African art.



? Barnes, Albert C., "Primitive Negro Sculpture and Its Influence in Modern Art." Opportunity, May, 1926. * (Romare Bearden). Time, Oct. 27, 1967, pages 64-65. Two collage paintings from exhibit at Cordier and Ekstrom Gallery, N.Y., reproduced in color. * Romare Bearden Exhibition at Cordier & Ekstrom Gallery, New York, Feb.'ll-March 7, 1970, reviewed in: Art News, Vol. 68, No. 10, Feb., 1970, page 10. * Bearden, Romare, "The Negro Artist and Modern Art." Oppor- tunity, Vol. XIII, No. 12, December, 1934, pages 371-372. A criticism of exhibitions for Negro artists like those of the Harmon Founda- tion as fostering weak reflections of themes and manners by White artists. The young artist urges Negro artists to express their own realities in their own way. * "Bibliography of African Art," Art Education, May, 1969, pages 12-13. Reproduced from Art Teacher's Guide to African and Afro- American Art, preliminary study by Board of Public Education, Pittsburgh, Penna., issued Nov. 1968. Some items relate to Afro- American art. * "Black Artist in America," Art Gallery, April, 1970. (Ivoryton, Connecticut, 06442, $1.00 per copy). This is the second issue on Black artists, the first issue has been sold out. * "Black Lamps: White Mirrors." Time, October 3, 1969, pages 60, 61-71. Negroes painted by White artists with captions from work of Black writers. Selection made by Alexander Eliot. * Blodgett, Geoffrey, "Spiced Wine: an Oberlin Scandal of 1862." Oberlin Alumni Magazine, Vol. 66, No. 2, February, 1970, pages 4-10. An abridgement of the article by the author in Journal of Negro His- tory, July, 1968. An incident during the attendance of the sculptress Mary Edmonia Lewis at Oberlin College in which she was accused of giving wine spiked with a toxic aphrodisiac to two white female classmates. * Campbell, E. Simms, Esquire, December, 1950, pages 120-21. Four illustrations in color in the manner of Van Gogh, Picasso, Renoir, and Seurat. * Catlett, Elizabeth, "The Negro Artist in America." American Con- temporary Art, April, 1944. * Davis, John, ed., "Africa Seen by American Negroes." Prdsence Africaine, Paris, 1958. Special volume. * Diop, Alioune, ed., "Le Premier Congr6s International des Ecri- vans et Artistes Noirs." Presence Africaine, Paris, 1956, pages 8-10; 1957, pages 14-15. * Elisofon, Eliot, "African Art: Primitives to Picasso," Think, Vol. 28, No. 1, pages 30-33. * Fine, Elsa Honig, "The Afro-American Artist: A Search for Iden- tity." Art Journal, Vol. XXIX, No. 1, Fall, 1969, pages 32-35. * G;olden Legacy, Quarterly, St. Albans, N.Y., Fitzgerald Publishing Co. An illustrated history magazine (first issue, 1966) in Comic Book format in paper covers, devoted to Americans and Europeans of note with Negro ancestry. Included in series to date are: Alexander Dumas, Toussaint L'Ouverture, Frederick Douglass, Harriet Tub- man, Crispus Attucks, Matthew Henson and others. Included in those listed for future issues are Alexander Pushkin, Joseph Cinque, and Martin Luther King. The magazine is published and illustrated by an Afro-American staff and distributed free by some local Coca- Cola bottlers. Individual copies are 25c. * Greene, Carroll, Jr., "Afro-American Artists: Yesterday and Now." Humble Way, Vol. VII, No. 3, Third Quarter, 1968, cover and pages 10-15. Illustrated in color. * Greene, Carroll, Jr., "The Negro Artist in America." Journal (United Church of Christ, Council for Higher Education), Vol. 5, No. 1, October, 1966, pages 1-5. * Hampton Institute, Bulletin, Hampton Institute, Hampton, Va., Vol. 97, 1969-70. Supplement illustrates Hampton Institute mural, "The Black American's Contribution to Democracy," by Charles White. * Holiday, April, 1959. Issue devoted to Africa with illustrated articles on its past, then present, the emerging new nations, and past and current relationships with Europe and the west. * Hollingsworth, Alvin, "Harlem" (Drawings). High, December, 1957. * Hughes, Langston, "The Negro Artist and the Racial Mountain." Nation, Vol. 122, June 23, 1926. * Johnson, Pauline, and Raven, Peter, "James Washington Speaks." Art Education, Vol. 21, No. 7, October, 1968, pages 8-11. * Landy, Jacob, "William H. Johnson: Expressionist Turned Primi- tive." Journal of American Association of University Women, March, 1958. Several paintings illustrated. * Lawrence, Jacob, Journal (United Church of Christ, Council for Higher Education), Vol. 7, No. 4, January, 1969. Illustrations of paintings by Jacob Lawrence from "The Migration of the Negro" series, pages: cover, 5, 12, 18. * Lawrence, Jacob. Motive, April, 1962. The painting of Jacob Law- rence was featured in this issue.

* "Leading Young Artists." Ebony, April, 1958. Thirteen artists reproduced in color, six in b/w. * Lockhart, Alice, "Claude Clark." Motive, March, 1955. Illustrated article. * Locke, Alain, "Advance on the Art Front." Opportunity, Vol. XVII, No. 5, May, 1939, pages 132-136, and cover. Illustrations of work of Barthe, Augusta Savage, and others. * Lockg, Alain, "American Negro as Artist." American Magazine of Art, Vol. 23, Sept., 1931. * McCausland, Elizabeth, "Jacob Lawrence." Magazine of Art, Vol. 38, Nov., 1945, pages 250-254. * Miller, Inez, "John Biggers." Houston, Texas, Southern Artist, Vol. 2, No. 2, pages 14-19. Illustrated article. * "Mystic Art of Tribal Africa; Images of Early Negro Culture In- fluence Native Life of Today." Life, Sept. 8, 1952, pages 116-125. Pho- tos by Eliot Elisofon. * "Negro Artists." Life, July 22, 1946. Work of eight Negro artists reproduced in color; work of four others reproduced in b/w. * Oubr6, Hayward L., "The Art of Wire Sculpture." Design, Sum- mer, 1969, pages 16-18. * "Gordon Parks, Shaper of Dreams." Birmingham News Maga- zine, October 19,1969. Article on biographical movie underway by Parks. * Pleasants, J. Hall, "Joshua Johnston, the First Negro Portrait Painter." Maryland Historical Magazine, Vol. 37, No. 2, 1942, pages 121-149. * Porter, James A., "Robert S. Duncanson, Midwestern Romantic- Realist." Art in America, Vol. 39, No. 3, October, 1951, pages 99-154. 27 paintings by Duncanson reproduced. * Porter, James A., "A Further Note on Robert S. Duncanson." Art in America, October, 1954, pages 220, 221, 235. * Porter, James A., "Versatile Interests of the Early Negro Artist." Art in America, January, 1936. * Potamkin, H. A., "African Plastic in Contemporary Art." Oppor- tunity, May, 1927. * "Quest for a Black Christ." Ebony, March, 1969, pages 170-173. Illustrated by Black artists. * Saunders, Raymond, drawing: "In White America," 1968. Art Journal, Spring, 1969, page 328. * Scott, John T., "Programs for Change: A Symposium." Arts and Society, Summer-Fall, 1968. * Sieber, Roy, and Rubin, Arnold, "On the Study of African Sculp- ture." Art Journal, Vol. XXIX, No. 1, Fall, 1969, pages 24-31. Illus- trated. Based on introduction by the authors in the catalogue of the exhibition "Sculpture of Black Africa, the Paul Tishman Collection," shown at the Los Angeles County Museum of Art, Nov. and Dec., 1968. * Siegal, Jean, "Why Spiral?" Art News, Vol. 65, Sept., 1966, pages 48-51. "Spiral," formed in 1963, was made up of a group of Black artists which included: Alston, Bearden, Woodruff, Lewis, Simpson, and others. From the exhibit they sponsored of black-and-white paintings no distinctively Negro characteristics were discerned. * The Studio Museum in Harlem, 1968-69, Annual Report. New York, Studio museum in Harlem, New York, 1969. Report on first year of operation. * Stavisky, Leonard Price, "Negro Craftsmanship in Early Amer- ica." American Historical Review, Vol. 54, 1948-49, pages 315-25. * "Henry Tanner: Black Expatriate." Time, Vol. 94, No. 2, July 11, 1969. Illustrated article. * (Henry Tanner). Ebony, October, 1969, pages 60-61, 64. Article on Henry Tanner illustrated in color and b/w. * Temple, Herbert, "Evolution of Afro-American Art: 1800-1950." Ebony, Vol. XXIII, No. IV, Feb., 1968, pages 116-122. * Thompson, Robert Farris, "Beyond Ethnography." Art News, Vol. 68, No. 10, Feb., 1970, pages 28-33, 70-71. Illustrated article on major exhibition of African art at National Gallery, Washington, D.C., which opened Jan. 28, 1970. * Wesley, Charles H., "Tanner: An Appreciation." Journal of Negro History, October, 1938. * "Charles White: Portrayor of Black Dignity." Ebony, July, 1967, pages 25-36. * Wilson, Ed, "A Statement." Arts in Society. Fall-Winter, 1968, pages 411416. Wilson, Chairman of the Art Department at State University of New York at Binghampton, seeks humanistic values in his art as a Negro artist rather than emphasis on content for the sake of class struggle propaganda. * Woodruff, Hale, "The Art of the Negro" (mural). Atlanta Uni- versity Bulletin, July, 1952. Mural described and illustrated.

Ralph M. Hudson is chairman of the Art Department and professor of art history at the University of Alabama in Huntsville.

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