Rebecca Vandiver
Biographic Data
| ID | 3671956 |
|---|---|
| NAME | Rebecca Vandiver |
| GIVEN NAMES | Rebecca |
| FAMILY NAME | Vandiver |
| SIGNATURE | VANDIVER R |
| AFFILIATIONS | Vanderbilt University, Nashville, TN, USA |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
Image Rights, Proprietorship, and Precedent in Cedric Dover’s American Negro Art (1960)
In 1960, Cedric Dover published American Negro Art, only the third book-length survey of African American art ever printed. The first was Alain Locke’s 1940 The Negro in Art and the second, James Porter’s Modern Negro Art from 1943. Leading up to the 1960 publication, Dover and Porter corresponded, and their letters concerning photographic reproductions reveal a heated exchange as Porter stalwartly refused to supply the reproductions, claiming he…
The Torture of Mothers: Elizabeth Catlett’s Prints as a Call for Reproductive Justice
Elizabeth Catlett, The Torture of Mothers, 1970, hand-colored lithograph, 15 x 221⁄4 in. (38.1 x 56.5 cm). University of Iowa Stanley Museum of Art, Iowa City, Museum Purchase, 2006.61 (artwork © 202
The Diasporic Connotations of Collage: Loïs Mailou Jones in Haiti, 1954–1964
In the 1960s Loïs Mailou Jones (1905–1998) produced a series of collages that signaled, via text and symbols, her experiences with and protracted study of Haitian Vodou ceremonial practices. Jones began traveling to Haiti in the summer of 1954. This article examines her aesthetic transformation over the next decade—the move from her representational paintings of the 1950s to her abstract collages of the 1960s—and argues that Jones’s eventual turn…
Art Matters: Howard University's Department of Art from 1921 to 1971
Art MattersHoward University's Department of Art from 1921 to 1971 Rebecca VanDiver (bio) Since its 1867 establishment, Howard University has been an epicenter of Black intellectualism frequently hailed as the "capstone of Negro education." Historian Zachery R. Williams notes that "from 1926 to 1970 [Howard] represented the center of Black intellectual life, and its scholars were heirs to the legacy of W. E. B. DuBois' 'talented tenth'" (Williams…
Before the Wall Came Tumbling Down: Ephemerality and Chicago’s Wall of Respect , 1967-1971
This article examines the well-known community mural, the Wall of Respect, begun on Chicago’s South Side in 1967, from the perspective of its ephemerality. A product of the Organization of Black American Culture’s (OBAC) Visual Arts Workshop, the Wall inspired similar murals across the United States. Completed at a moment when positive images of African Americans were scarce in the mainstream media, the Wall was filled with portraits of Black cul…
Before the Wall Came Tumbling Down: Ephemerality and Chicago’s Wall of Respect , 1967-1971
This article examines the well-known community mural, the Wall of Respect, begun on Chicago’s South Side in 1967, from the perspective of its ephemerality. A product of the Organization of Black American Culture’s (OBAC) Visual Arts Workshop, the Wall inspired similar murals across the United States. Completed at a moment when positive images of African Americans were scarce in the mainstream media, the Wall was filled with portraits of Black cul…
Before the Wall Came Tumbling Down: Ephemerality and Chicago’s Wall of Respect , 1967-1971
This article examines the well-known community mural, the Wall of Respect, begun on Chicago’s South Side in 1967, from the perspective of its ephemerality. A product of the Organization of Black American Culture’s (OBAC) Visual Arts Workshop, the Wall inspired similar murals across the United States. Completed at a moment when positive images of African Americans were scarce in the mainstream media, the Wall was filled with portraits of Black cul…
Art Matters: Howard University's Department of Art from 1921 to 1971
Art MattersHoward University's Department of Art from 1921 to 1971 Rebecca VanDiver (bio) Since its 1867 establishment, Howard University has been an epicenter of Black intellectualism frequently hailed as the "capstone of Negro education." Historian Zachery R. Williams notes that "from 1926 to 1970 [Howard] represented the center of Black intellectual life, and its scholars were heirs to the legacy of W. E. B. DuBois' 'talented tenth'" (Williams…
The Diasporic Connotations of Collage: Loïs Mailou Jones in Haiti, 1954–1964
In the 1960s Loïs Mailou Jones (1905–1998) produced a series of collages that signaled, via text and symbols, her experiences with and protracted study of Haitian Vodou ceremonial practices. Jones began traveling to Haiti in the summer of 1954. This article examines her aesthetic transformation over the next decade—the move from her representational paintings of the 1950s to her abstract collages of the 1960s—and argues that Jones’s eventual turn…
The Torture of Mothers: Elizabeth Catlett’s Prints as a Call for Reproductive Justice
Elizabeth Catlett, The Torture of Mothers, 1970, hand-colored lithograph, 15 x 221⁄4 in. (38.1 x 56.5 cm). University of Iowa Stanley Museum of Art, Iowa City, Museum Purchase, 2006.61 (artwork © 202
Image Rights, Proprietorship, and Precedent in Cedric Dover’s American Negro Art (1960)
In 1960, Cedric Dover published American Negro Art, only the third book-length survey of African American art ever printed. The first was Alain Locke’s 1940 The Negro in Art and the second, James Porter’s Modern Negro Art from 1943. Leading up to the 1960 publication, Dover and Porter corresponded, and their letters concerning photographic reproductions reveal a heated exchange as Porter stalwartly refused to supply the reproductions, claiming he…
Art (5 works) · Visual arts (5 works) · Art history (4 works) · Sociology (4 works) · Law (3 works) · Political science (3 works) · Aesthetics (2 works) · History (2 works) · Painting (2 works) · Race, History, and American Society (2 works)