David Hammons is known as an African-American performance artist, installation artist, and sculptor. David Hammons was born in 1943 at Springfield, Illinois. He then moved to Los Angeles in 1962 to attend Chouinard Art Institute from 1966 to 1968, ultimately transferred to Otis Art Institute from 1968 to 1972. Eventually, he settled in New York City in 1974. He completed most of work in New York City during the 1970's and 1980's. David Hammons's work primarily expresses cultural implications; He uses materials that are outside the norm, including things such as bottles of cheap wine, chicken bones and elephant dung to portray his inspiration. His art centers on the black urban experience; much of his work reflects his commitment to the Black …show more content…
Power movements. It makes references to, and incorporates the technique, minimalism, which is a design or style in which the simplest and fewest elements are used to create the maximum effect.
David Hammons regularly uses sarcasm as way to confront cultural stereotypes and racial matters. Since the 1960s, he has faced American cultural labels and racial stereotypes through wittily sculptures, body prints, performances, and installations. In 1990, David Hammons made a work called African-American Flag. The flag is displayed at the Museum of Modern Art in New York City. The African American flag is based on the typical United States flag, however its stripes are black and red, the field is green, and the stars on the field are black. The African American Flag, also known as the “Pan-African Flag”, and the “U.N.I.A Flag”, is a symbol of African and African-American liberation, unity and …show more content…
pride. David Hammons created the African American Flag in 1990, which is the same year David Dinkins was affirmed as the first black mayor of New York City. To David Hammons, the flag is a bold statement of identity, as he took the Pan-African color scheme (used by Marcus Garvey and the Universal Negro Improvement Association) “to communicate the united sense of duplicity that exists in being Black” . For David Hammons, “producing the flag was not a question of citizenship, but rather an assertion” . David Hammons pays respect to America, his version of history by combining the Black Liberation Flag with the traditional stars and stripes. Although, for some, David Hammons’ use of Pan-African colors signifies not being considered American. He used the Pan-African colors: black, red, and green, instead of the white, red and blue color scheme. The black represents skin tone, red represents blood, and green represents the wealth his ancestors were forced to leave behind. Generally known today as the Garvey flag, named after Marcus Garvey, it was originally known as the "Red, Black, Green" flag.
The colors are adopted from the U.N.I.A or Black Nationalist Flag. The Universal Negro Improvement Association constitution defines red, black, and green as the Pan-African colors. "Red representing the noble blood that unites all people of African ancestry, the color black for the people, Green for the rich land of Africa” . Alternatively, it was reported that Marcus Garvey projected the colors for the following reasons: Garvey said, “Red because of sympathy for Native Americans, the Green is sympathy for the Irish in their fight for freedom, and the Black for the color of the Negro” . The impulse to put forth a flag became even more urgent because of the white supremacist song that became extremely popular in the early 20th century, “Every Race Has a Flag but the Coon.”. The Red, Black and Green were officially confirmed as the Flag for African people at the 1920 Universal Negro Improvement Association Convention. After that occurred, it led Marcus Garvey to declare, “Show me the race or the nation without a flag, and I will show you a race of people without any pride. Aye! In song and mimicry they have said, ‘Every race has a flag but the coon.’ How true! Aye! But that was said of us four years ago. They can’t say it now.” . In the end, the Universal Negro Improvement Association flag became a symbol of Black liberation and unity in the United
States and a way to associate Harlem and its connection to both contemporary arts and the diaspora (people who share African heritage, but not from the homeland). Although I myself am not of any African descendants, I feel proud of people like Marcus Garvey who stood up for what they believed was right. The reason as to why I support Garvey’s philosophy is that he had the desire to help Africans find their own identity and be proud of it. He called for “African unity”. His desire for Africa to have its own flag and government just like dominant countries in Europe inspired him to call for an African Renaissance that would empower Africans to recognize how powerful they are if they unite and embrace their African culture and history. He had the ability to encourage Africans to be proud of their roots, which allowed them to gain confidence in themselves. From his teachings and philosophies he motivated many African leaders to form a government and/or organizations that would advocate for African rights. I believe that Africans everywhere should embrace the U.N.I.A flag and display it proudly during public events, rallies, as a unifying symbol of resistance and pride. In the end, nevertheless, the most powerful and lasting symbol of unity that Marcus Garvey presented and left to African people was the U.N.I.A Flag. David Hammons’ inspiration derives from Marcus Garvey. He believes that the flag became an African nationalist representation for the universal liberation of African people. It supports my thesis as stated that the flag is a symbol of Black pride, unity, and black liberation. The appearance of the flag (colors) red, which represents the “noble blood that unites all people of African ancestry, the color black for the people, green for the rich land of Africa” , complements the history behind the establishment of the flag, which support the statement that the flag is a representation of unity and pride. Africa’s desire, which was to have its own flag and government just like powerful countries in Europe, became a reality with the support of moving people such as Marcus Garvey. After all, the purpose of Marcus Garvey’s organization was "to unite all people of African ancestry of the world to one great body to establish a country and absolute government of their own" . Correspondingly, it complements my aesthetic view as I stated that because of this flag it has inspired future African leaders to unite and form a government that would advocate for African rights. The influence of Marcus Garvey has been tremendous. More than 30 African countries have declared their freedom because his philosophies were so inspiring, and many incorporated Garvey's red, black and green colors in their flags. Those who included the Garvey colors in their flags (including Ghana, Kenya, Ethiopia and others) it was to symbolize their inspiration Marcus Garvey stowed upon them. Marcus Garvey understood the significance of gathering people together to “experience Black unity and instill race pride” . The U.N.I.A flag (African American flag) has become a symbol of Black unity and pride all over the world.
This week I read the short article on Alan Locke’s, “Enter the New Negro”. This article is discussing the Negro problem in depth. “By shedding the chrysalis of the Negro problem, we are achieving something like spiritual emancipation”. Locke believes that if we get rid of whatever is holding us back we would gain something renewing and beautiful.
Ernie Barnes was and still is one of the most popular and well-respected black artists today. Born and raised in Durham, North Carolina, in 1938, during the time the south as segregated, Ernie Barnes was not expected to become a famous artist. However, as a young boy, Barnes would, “often [accompany] his mother to the home of the prominent attorney, Frank Fuller, Jr., where she worked as a [housekeeper]” (Artist Vitae, The Company of Art, 1999). Fuller was able to spark Barnes’ interest in art when he was only seven years old. Fuller told him about the various schools of art, his favorite painters, and the museums he visited (Barnes, 1995, p. 7). Fuller further introduced Barnes to the works of such artists as, Raphael, Michelangelo, and Correggio, which later influenced Barnes’ mannerist style of painting.
His art work has been displayed countrywide and worldwide for more than forty years. Andrews' work can be found in the everlasting collections of various museums as well as The Metropolitan Museum of Art, The Museum of Modern Art, The Hirshhorn Museum and The Art Institute of Chicago. Benny Andrew's work is in the permanent collections of numerous thirty most important museums, including the High Museum of Art in Atlanta, Brooklyn Museum of Art, Sculpture Garden, the New Orleans Museum of Art, the Memphis Brooks Museum of Art, and the Smithsonian Institute. He has also been a member of several other institutions. His theme is people, generally African American people raised from his Southern heritage as he was born in Georgia, a child of a previous slave.
The Color of Water is an autobiography about a woman named Ruth Mcbride Jordan. She is the mother of the author of the book, James Mcbride. Ruth is a very strong woman with a lot of faith in God. She is a Polish immigrant and she faces some hardships in the story. She immigrated to America with her Jewish and Polish family when she was just a little girl. Throughout the book, her identity is transformed through all of the events that occur with her and the other characters. All of the important things in her life consist of: religion, faith, God, education, work, and school. The reason that I say that Ruth Mcbride is a strong woman is because she has the ability to get through several hardships in her life. After reading, The Color of Water, I would state that Ruth Mcbride has obtained the identity of a strong mother with a lot of faith and confidence.
My first piece of artwork that I found interesting is called “Portrait of a Collagist” by an African American artist name Benny Andrews in 1989. His artwork is mainly abstract impressionism and realism and the medium he likes to use and is using in the particular piece is oil and collage on canvas and stands roughly 92inx51in. In this piece his work is abstract and realism, as is most of his pieces. (Source?)
Conflicted Often, people go through changes in their lives based on experiences. Former KKK member, Claiborne Ellis would be one of those people whose experiences changed his mentality. Certainly, having conflicted ideas about other races, is a challenge in itself. So, after reading Why I quit the Klan, I could not imagine a racist honestly changing his view on his personal feelings on other races.
The poem, “My Great-Grandfather’s Slaves” by Wendell Berry, illustrates the guilt felt for the sins of a man’s ancestors. The poem details the horror for the speaker’s ancestors involvement in slavery and transitions from sympathy for the slaves to feeling enslaved by his guilt. Berry uses anaphora, motif, and irony, to express the speaker’s guilt and provide a powerful atmosphere to the poem.
The colors red, white and blue did not have any real significance in America until their rights for freedom and territory were challenged. "The American flag played no significant role in American life until the Civil War, during the fight at Fort Sumter" (Goldstein 1). Then, to all northerners it became a symbol of pride and an object of "public adoration" (1). The flag was held in such high esteem that the Flag Protection Movement was created in 1890 so that there would be no commercialism of the object(2). The FPM felt as though politicians and merchants were "prostituting" the flag so, in 1900 they joined with the American Flag Association and made a set...
As Elie Wiesel once stated, “I swore never to be silent whenever and wherever human beings endure suffering and humiliation. We must always take sides. Neutrality helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented” (“Elie Wiesel Quote”). Michelle Alexander’s book The New Jim Crow, which discusses criminal justice and its role in mass incarceration, promotes a similar idea regarding silence when America’s racial caste system needs to be ended; however, Alexander promotes times when silence would actually be better for “the tormented.” The role of silence and lack of silence in the criminal justice system both contribute to wrongly accused individuals and growing populations behind bars.
Another view of the American flag is the colors red, white, and blue. Some Americans see the color red as blood for all the blood shed on the battlegrounds. Another color white for victory or triumph in our great nation of America. Lastly, the color blue for the sadness or sorrow felt because of the lives lost in war.
Reading my first book for this class, I was really looking forward to it. The book, The New Jim Crow by Michelle Alexander, is an interesting book because it touches base on mass incarceration and the caste system. Figuring out that society is on a war on drugs and racism in the justice system is upsetting, and yet interesting. Michelle does a really nice job in organizing the book and presenting the plot. The fact that this book informs and explains arguments, what is happening with the justices system is complete true. Our lives would look complete different; and some of her points are happening. People do not realize getting incarcerated will take some of rights away. This essay will reflect on the book its self, answer questions,
The topic of slavery in the United States has always been controversial, as many people living in the South were supportive of it and many people living in the North were against it. Even though it was abolished by the Civil War before the start of the 20th century, there are still different views on the subject today. Written in 1853, the book Twelve Years a Slave is a first person account of what it was like for Solomon Northup to be taken captive from his free life in the North and sold to a plantation as a slave in the South, and his struggle to regain his freedom. Through writing about themes of namelessness, inhumanity, suffering, distrust, defiance, and the desire for freedom, Northup was able to expose the experiences and realities of slavery.
The poem America by Claude McKay is on its surface a poem combining what America should be and what this country stands for, with what it actually is, and the attitude it projects amongst the people. Mckay uses the form of poetry to express how he, as a Jamaican immigrant, feels about America. He characterizes the bittersweet relationship between striving for the American dream, and being denied that dream due to racism. While the America we are meant to see is a beautiful land of opportunity, McKay see’s as an ugly, flawed, system that crushes the hopes and dreams of the African-American people.
Booker T. Washington was a young black male born into the shackles of Southern slavery. With the Union victory in the Civil War and the Emancipation Proclamation of 1863, Washington’s family and blacks in the United States found hope in a new opportunity, freedom. Washington saw this freedom as an opportunity to pursue a practical education. Through perseverance and good fortunes, Washington was able to attain that education at Hampton National Institute. At Hampton, his experiences and beliefs in industrial education contributed to his successful foundation at the Tuskegee Institute. The institute went on to become the beacon of light for African American education in the South. Booker T. Washington was an influential voice in the African American community following the Civil War. In his autobiography, Up from Slavery, Washington outlines his personal accounts of his life, achievements, and struggles. In the autobiography, Washington fails to address the struggle of blacks during Reconstruction to escape the southern stigma of African Americans only being useful for labor. However, Washington argues that blacks should attain an industrial education that enables them to find employment through meeting the economic needs of the South, obtaining moral character and intelligence, and embracing practical labor. His arguments are supported through his personal accounts as a student at Hampton Institute and as an administrator at the Tuskegee Institute. Washington’s autobiography is a great source of insight into the black education debate following Reconstruction.
In Half of a Yellow Sun, Chimamanda Ngozi Adichie attempts to use history in order to gain leverage on the present, to subvert the single story stereotypes that dominate many contemporary discourses on Africa. Written in the genre of historical fiction, Adichie’s novel transcends beyond mere historical narration and recreates the polyphonic experiences of varying groups of people in Nigeria before and after the Civil War. She employs temporal distortion in her narrative, distorting time in order to illustrate the intertwining effects of the past and present, immersing deep into the impact of western domination that not only catalyzed the war, but continues to affect contemporary Africa. In this paper, I will analyze her portrayal of the multifaceted culture produced by colonialism – one that coalesces elements from traditional African culture with notions of western modernity to varying degrees. I will argue that Adichie uses a range of characters, including Odenigbo’s mother, Ugwu, Olanna and Kainene, to each represent a point in a spectrum between tradition and modernity. Through her juxtaposition, she undermines the stereotypes that continue to characterize Africa as backwards and traditional, proving instead that colonialism has produced a cross culture where the two are intertwined.