Signifying the Sound
Criteria for Black Art Movements
Bibliographic Data
| ID | 21340905 |
|---|---|
| Authors | Courtney Reed (0000-0002-1440-2137, corresponding author), Corey Reed |
| Year | 2023 |
| Volume | 57 |
| Issue | 4 |
| Pages | 36-59 |
| Publication date | 2023-12-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Journal of Aesthetic Education (JOURNAL) |
| Journal identifiers | ISSN: 0021-8510 • E-ISSN: 1543-7809 |
| Publisher | University of Illinois Press (PUBLISHER • US) |
| DOI | 10.5406/15437809.57.4.03 |
| OpenAlex | W4388694864 |
| Language | EN |
“Black art” is often understood as being inherently political. In examining two major Black arts movements, the Harlem Renaissance and the Black Arts movement, many of the works attributed to those periods fit the description of “political art” but not all of them. Black art movements are not defined exclusively by similar styles or methodologies, like Expressionism or Surrealism, either. Instead, Black art movements are complex movements that blend social, political, and aesthetic criteria. In this article, I list seven conditions that I take to be jointly sufficient for a Black art movement to be signified as such. In this assertion, I also argue that this current era, paralleling the Black Lives Matter movement, is worthy of Black art movement signification, if we update the mediums by which the conditions are met in the Harlem Renaissance and the Black Arts movement
Aesthetics · Art · Art history · Assertion · Black Power · Fine art · Harlem Renaissance · Movement (music) · Performance art · Political science · Politics · The arts · Visual arts · Art Education and Development · Computer Science · Law · Music History and Culture · Race, History, and American Society
| Citation velocity | historical |
|---|---|
| Highly cited | No |