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Augusta Savage, originally known as Augusta Christine Fells, is a woman of the Harlem Renaissance that is known for her great creativity as a sculptor and her legacy of educating a new age group of black artists. Savage has faced her challenges as an artist, but eventually overcame them with the support of the African American community. The strength Savage used for her talent to create artwork eventually became the reason for her downfall as an artist.
Augusta Savage was born in Green Cove Springs, Florida where the main industry was bricks. Several clay pits were located nearby because clay was essential to brick making (Jordan 42). At an early age, Savage learned how to produce figurines from the red-clay soil in the clay pits. She liked to mold things such as animals and other small statures. But her father, a Methodist minister, did not allow of this pursuit, and did whatever he could to stop her. Savage once said that her father "almost licked all the art out of me" (Jordan 42). Despite her father's opposition, Savage continued to build carvings. In 1915, when the family relocated to West Palm Beach, Florida, Savage came across a new challenge—being short of clay. Savage eventually got some modeling clay from a local potter and created a group of figurines that she entered in a local county fair. Her work was well received, winning a prize of $175 and the support of the fair superintendent, George Graham Currie (Jordan 42). He persuaded her to study art. She moved to Jacksonville, Florida, hoping to make a living by executing commissioned busts of the city’s well-to-do African Americans. After an unsuccessful effort to establish herself as a sculptor, Savage moved to New York City in the 1920s.
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...Augusta Savage." Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia Britannica, 2011. Web. 02 May. 2011. .
Douglas, Andrea. "Augusta Savage’s Gamin: A Significant Acquisition by the University of Virginia Art Museum." Arts & Sciences Magazine - Arts & Sciences News, UVa. The Carter G. Woodson Institute for African-American and African Studies, 26 Jan. 2010. Web. 25 Apr. 2011. .
Haskins, James. Black Stars of the Harlem Renaissance. New York: Wiley, 2002. Print.
Jordan, Denise. Harlem Renaissance Artists. Chicago, IL: Heinemann Library, 2002. Print.
McKissack, Lisa Beringer. Women of the Harlem Renaissance. Minneapolis, MN: Compass Point, 2007. Print.
Schaefer, A. R. The Harlem Renaissance. Chicago: Heinemann Library, 2003. Print.
...t way, like Varley’s 1930 Vera, she remains a mystery, a forgotten artist, best known for he work as a muse, model, and wife. It is often wondered what kind of work she would have done if she had remained single mindedly focused on her art like the famous Emily Carr
African American painter and graphic artist who played a leading roll in the Harlem renaissance.
Her family ties to the south, her unique talent, her ability to travel and make money are similar to the Blues women movement that preceded her. It can be said that Nina Simone goes a step further the by directly attacking inequities pertaining to race and gender in her music. However, what distinguishes her is her unique musicianship and that is what ultimately garners her massive exposure and experiences than those of her past contemporaries. Like the Blues women Simone expands ideas pertaining to self-expression, identity and beauty as they relate to black women. She does this by embracing what is definitively African American and connecting that to a historical context. By doing so she is the embodiment of a political statement. Her journey which began like many entertaine...
West 31st Street, NY: Chelsea House, 2009. Print. Fitzpatrick, Virginia. Art history: a contextual inquiry course.
Whitney Chadwick, Women, Art, and Society 3rd ed. (NY: Thames & Hudson world of art, 2002), 153-160.
The Harlem Renaissance, a time of global appreciation for the black culture, was a door opening for African American women. Until then, African Americans, let alone African American women, were neither respected nor recognized in the artistic world. During this time of this New Negro Movement, women sculptors were able to connect their heritages with the present issues in America. There is an abundance of culture and history to be learned from these sculptures because the artists creatively intertwine both. Meta Warrick Fuller and Edmonia Lewis, two of the most popular sculptors of this time, were able to reflect their native heritages and the dynamics of society through their artwork.
For my critical analysis paper I went to the Evansville Museum of Arts located in Evansville, Indiana to pick a subject for my paper. I chose to review the sculpture created by the American artist Frederic Remington. This sculpture was casted by the Henry-Bonnard Bronze Company in New York in the year 1895 (Evansville Museum of Arts, History, and Science). There was an object label that was next to the sculpture that gave some background information about Remington and his work. It said that Frederic was inspired by horses and accurately depicted them in mediums such as drawings, woodblock prints, painting and sculptures. His incredible sense of detail increases the drama and intensifies the power of the animal in motion.
Art could be displayed in many different forms; through photography, zines, poetry, or even a scrapbook. There are many inspirational women artists throughout history, including famous women artists such Artemisia Gentileschi and Georgia O’Keeffe. When searching for famous female artists that stood out to me, I found Frida Kahlo, and Barbara Kruger. Two very contrasting type of artists, though both extremely artistic. Both of these artists are known to be feminists, and displayed their issues through painting and photography. Frida Kahlo and Barbara Kruger’s social and historical significance will be discussed.
...se pieces were modeled after Saartije Baartman, an African American women who was made into an exhibition across Europe because of the shape of her body. Cox illustrates that there are vast amounts of diversity among black women’s bodies. Without wearing these prosthetic pieces, she could not make her own body resemble Saatije Baartman’s.
While studying art history in Pre-Industrial Visual Cultures this semester, one theme has become painfully obvious. There are few if any women artists included in the study of art history. If you dig deep into the books you can find mention of many unknown, unrecognized and often times very talented women artists from the past. Women in history are simply not recognized, and this is due to a large extent to their exclusion from the art world. My paper chooses to focus on a few female artists of the sixties and seventies who sought to make up for past history and ensure women were known. These women invented their own language for art making, which included sexual imagery, and left no doubt of their gender. These women made art as women, instead of trying to make art like men and be accepted. My paper therefore focuses on these women, who although werenít involved directly in pre-industrial art history were very much affected by the exclusion of women from it.
Judy Chicago comments in her essay that she “had been made to feel ashamed of her own aesthetic impulses as a woman, pushed to make art that looked as if it had been made by a man.” The idea that female artists were not permitted to draw from their personal experiences completely undermines the basis of what art is. Art provides context of culture: it adds meaning and relevance to the time that it was created, and the artists’ personal experiences is what drives the artwork, and society, forward. Chicago’s blatant truths about women and their art in the early 70’s describes the struggles of walking between the worlds of femininity and the regular world talked about by Woolf. It’s impossible to deny the importance of femininity. If one is not
Known as the “Empress Of Blues”, Bessie Smith was said to have revolutionized the vocal end of Blues Music. She showed a lot of pride as an independent African-American woman. Her style in performance and lyrics often reflected her lifestyle. Bessie Smith was one of the first female jazz artists, and she paved the way for many musicians who followed.
Sometimes referred to as “the artistic sister of the Black Power Movement” the Black Arts Movement (BAM) arose in the mid 1960’s to develop a poetic/artistic statement that not only provided a means of black existence in America, but also provided a “change of vision” in the perception of African American identity. Much like the New Negro Movement, the Black Arts Movement was a flourishing time of artistic exertion among African American musicians, poets, playwrights, writers, and visual artists who understood that their artistic production could be the key to revising stereotypes of African American subordinacy (Neal). Through looking at the enriching artworks by David Hammons, Jeff Donaldson, and Adrian Piper, it can be understood that the African American race strived for both racial equality and social change. Hammons, Donaldson, and Piper were unique artist who changed African American Art and captivated America through their exceptional styles of talent and artworks. While the artworks Spade (Power to the Spade) by David Hammons, Wives of Shango by Jeff Donaldson, and Adrian Piper’s advertisement in Village Voice share few commonalities such as similar subject matter, such as their strive for black power, and imagery, their differences in mediums, structural styles, and technique show differentiating aspects of each artworks physique.
Sculpting is the art of working with stone, bronze, and wood by chipping at it to form a beautiful piece of art. The art of sculpting was known thousands of years ago in the time of “THE OLD STONE AGE.” During this time the people thought that they would make the sculptures to praise their gods, kings, queens, and goddesses. The people also made sculptures of animals they believed that the animals would see this and protect them from other harmful animals.
Throughout history, women artists have had to face opposition from their male counterpart to be treated as equals in both society and in art. Men has enjoyed a level of personality in the depiction of male figures that have allowed for active roles while women were forced in roles deemed lesser. Their treatment in both society and in the representation of art, has limited female viewer in what types of female figures she would see. Her models were mostly passive and objects of beauty or femmes fatales.