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| 100 | 1_ | $aEnglish, Darby,$d1974-$eauthor. |
| 245 | 10 | $a1971: a year in the life of color /$cDarby English. |
| 264 | _1 | $aChicago ;$aLondon :$bThe University of Chicago Press,$c2016. |
| 300 | $a285 pages :$billustrations (some color) ;$c24 cm | |
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| 504 | $aIncludes bibliographical references and index. | |
| 505 | 0_ | $aIntroduction: Social experiments with modernism -- The figure of the black modernist -- Making a show of discomposure: Contemporary Black Artists in America -- Local color and its discontents: the DeLuxe show -- Appendix: Raymond Saunders, Black is a color. |
| 520 | 0_ | $aIn this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists' desire to gain freedom from overt racial representation, as well as their efforts<U+2014>and those of their advocates<U+2014>to further that aim through public exhibition. Amid calls to define a black aesthetic, these experiments with modernist art prioritized cultural interaction and instability. 'Contemporary Black Artists in America' highlighted abstraction as a stance against normative approaches, while 'The DeLuxe Show' positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color's special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists<U+2014>among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas<U+2014>rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture<U+2019>s preoccupation with color. |
| 611 | 20 | $aContemporary Black Artists in America (Exhibition)$d(1971 :$cNew York, N.Y.) |
| 611 | 20 | $aDe Luxe Show (Exhibition)$d(1971 :$cHouston, Tex.) |
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| 100 | 1_ | $aEnglish, Darby,$d1974-$eauthor. |
| 245 | 10 | $a1971: a year in the life of color /$cDarby English. |
| 264 | _1 | $aChicago ;$aLondon :$bThe University of Chicago Press,$c2016. |
| 300 | $a1 online resource (285 pages) :$billustrations (some color) | |
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| 504 | $aIncludes bibliographical references and index. | |
| 505 | 0_ | $aIntroduction: Social experiments with modernism -- The figure of the black modernist -- Making a show of discomposure: Contemporary Black Artists in America -- Local color and its discontents: the DeLuxe show -- Appendix: Raymond Saunders, Black is a color. |
| 520 | 0_ | $aIn this book, art historian Darby English explores the year 1971, when two exhibitions opened that brought modernist painting and sculpture into the burning heart of United States cultural politics: Contemporary Black Artists in America, at the Whitney Museum of American Art, and The DeLuxe Show, a racially integrated abstract art exhibition presented in a renovated movie theater in a Houston ghetto. 1971: A Year in the Life of Color looks at many black artists' desire to gain freedom from overt racial representation, as well as their efforts<U+2014>and those of their advocates<U+2014>to further that aim through public exhibition. Amid calls to define a black aesthetic, these experiments with modernist art prioritized cultural interaction and instability. 'Contemporary Black Artists in America' highlighted abstraction as a stance against normative approaches, while 'The DeLuxe Show' positioned abstraction in a center of urban blight. The importance of these experiments, English argues, came partly from color's special status as a cultural symbol and partly from investigations of color already under way in late modern art and criticism. With their supporters, black modernists<U+2014>among them Peter Bradley, Frederick Eversley, Alvin Loving, Raymond Saunders, and Alma Thomas<U+2014>rose above the demand to represent or be represented, compromising nothing in their appeals for interracial collaboration and, above all, responding with optimism rather than cynicism to the surrounding culture<U+2019>s preoccupation with color. |
| 588 | 0_ | $aPrint version record. |
| 611 | 20 | $aContemporary Black Artists in America (Exhibition)$d(1971 :$cNew York, N.Y.) |
| 611 | 20 | $aDe Luxe Show (Exhibition)$d(1971 :$cHouston, Tex.) |
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| 650 | _0 | $aNineteen seventy-one, A.D. |
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| 776 | 08 | $iPrint version:$aEnglish, Darby, 1974-$t1971: a year in the life of color.$dChicago ; London : The University of Chicago Press, 2016$z9780226131054$w(DLC) 2016012924$w(OCoLC)944087514 |
| 856 | 40 | $uhttps://www.degruyter.com/openurl?genre=book&isbn=9780226274737 |