MARC Record from Library of Congress

LEADER: 03520cam a22004094a 4500
001 2011017782
003 DLC
005 20120628120657.0
008 110512s2012 waua b s001 0 eng
010 $a 2011017782
016 7 $a015903375$2Uk
020 $a9780295991450 (pbk.)
020 $a0295991453 (pbk.)
035 $a(OCoLC)ocn713189786
040 $aDLC$cDLC$dYDX$dBTCTA$dUKMGB$dYDXCP$dERASA$dBWX$dCOO$dCDX$dYBM$dGZM$dBDX$dPUL$dSTF$dDEBBG$dYUS$dDLC
042 $apcc
043 $an-us---
050 00 $aND212.5.M63$bF73 2012
082 00 $a759.13$223
100 1 $aFrancis, Jacqueline.
245 10 $aMaking race :$bmodernism and "racial art" in America /$cJacqueline Francis.
260 $aSeattle :$bUniversity of Washington Press,$cc2012.
300 $axiv, 250 p. :$bill. (some col.) ;$c23 cm.
500 $a"A McLellan book"--T.p.
505 0 $aIntroduction -- The meanings of modernism -- Making race in American religious painting -- Type/face/mask: racial portraiture -- The race of landscape -- Conclusion.
520 $a"Malvin Gray Johnson, Yasuo Kuniyoshi, and Max Weber were three New York City artists whose work was popularly assigned to the category of "racial art" in the interwar years of the twentieth century. The term was widely used by critics and the public at the time, and was an unexamined, unquestioned category for the work of non-whites (such as Johnson, an African American), non-Westerners (such as Kuniyoshi, a Japanese-born American), and ethnicized non-Christians (such as Weber, a Russian-born Jewish American). The discourse on racial art is a troubling chapter in the history of early American modernism that has not, until now, been sufficiently documented. Jacqueline Francis juxtaposes the work of these three artists in order to consider their understanding of the category and their stylistic responses to the expectations created by it, in the process revealing much about the nature of modernist art practices. Most American audiences in the interwar period disapproved of figural abstraction and held modernist painting in contempt, yet the critics who first expressed appreciation for Johnson, Kuniyoshi, and Weber praised their bright palettes and energetic pictures--and expected to find the residue of the minority artist's heritage in the work itself. Francis explores the flowering of racial art rhetoric in criticism and history published in the 1920s and 1930s, and analyzes its underlying presence in contemporary discussions of artists of color. Making Race is a history of a past phenomenon which has ramifications for the present. Jacqueline Francis is a senior lecturer at the California College of the Arts"--Provided by publisher.
520 $a"A comparative history of New York expressionist painters Malvin Gray Johnson (1896-1934), Yasuo Kuniyoshi (1893-1953), and Max Weber (1881-1961)"--Provided by publisher.
504 $aIncludes bibliographical references (p. 155-236) and index.
650 0 $aModernism (Art)$zUnited States.
650 0 $aPainting, American$y20th century.
600 10 $aJohnson, Malvin Gray,$d1896-1934$xCriticism and interpretation.
600 10 $aKuniyoshi, Yasuo,$d1889-1953$xCriticism and interpretation.
600 10 $aWeber, Max,$d1881-1961$xCriticism and interpretation.
650 0 $aArt criticism$zUnited States$xHistory$y20th century.
650 0 $aArt and race.
648 7 $aGeschichte 1920-1940.$2swd
856 42 $3Cover image$uhttp://www.netread.com/jcusers/1305/2465478/image/lgcover.3140359.jpg