Black Art

A major new history of how African nations, starting in the 1960s, sought to reclaim the art looted by Western colonial powers.

Formed on the South Side of Chicago in 1968 at the height of the civil rights, Black power, and Black arts movements, the AFRICOBRA collective created a new artistic visual language rooted in the culture of Chicago's Black neighborhoods.

A major publication about the revolutionary art collective that defined a new Black aesthetic in late 1960s Chicago and whose influence today is stronger than ever.

Across photography, sculpture and painting, a new wave of Black artists is challenging persistent tropes in art and wider society to depict a richer portrait of the lives of Black people from all corners of the globe.

Battleground is the first illustrated history of contemporary African American art.

This groundbreaking study explores the visual representations of Black culture across the globe throughout the twentieth century and into the twenty-first.

The second book in a three-volume series on Black American artists, featuring work from the 1950s to the 1970s that responded to the cultural, political, and social concerns of the era.

Exploring how artists at midcentury addressed the social issues of their day--from Jacob Lawrence to Elizabeth Catlett, Rose Piper to Charles White. (1st of a planned 3-vol. series)

This book examines a range of visual expressions of Black Power across American art and popular culture from 1965 through 1972.

An important illustrated history of the relationship between Cambridge and the Black Atlantic. Between 1400 and 1900, European powers, not least Britain, colonised the Americas and transported over 12.5 million people from sub-Saharan Africa as slaves.

How an eighteenth-century engraving of a slave ship became a cultural icon of black resistance, identity, and remembrance.

A groundbreaking volume resituating the Harlem Renaissance as integral to the development of twentieth-century modernism.

Just Above Midtown, or JAM, was an art gallery and self-described laboratory led by Linda Goode Bryant that foregrounded African American artists and artists of color.

From publisher:
From January 15 to February 12, 1977, more than 15,000 artists, intellectuals and performers from 55 nations worldwide gathered in Lagos, Nigeria, for the Second World Black and African Festival of Arts and Culture, also known as FESTAC'77. Taking place in the heyday of Nigeria's oil wealth and following the African continent's potent decade of decolonization, FESTAC'77 was the peak of Pan-Africanist expression.

Recaptioning Congo places the photographic history of colonial Congo (1885-1960) in a new perspective.

In South of Pico, Jones explores how the artists in Los Angeles's black communities during the 1960s and 1970s created a vibrant, productive, and engaged activist arts scene in the face of structural racism.

During the 1960s and 70s, Chicago was shaped by art and ideas produced and circulated on its South Side. Defined by the city's social, political, and geographic divides and by the energies of its multiple overlapping art scenes, this vibrant moment of creative expression produced a cultural legacy whose impact continues to unfold nationally and internationally.