An imperfect but noble effort.
Art historian and curator Archer-Shaw investigates the degree to which black culture influenced Parisian artists in the 1920s.
The author is not primarily concerned with this subject’s more sensational or glamorized aspects, such as the sojourns in Paris during the 1920s of famous African-Americans like boxer Jack Johnson, entertainer Josephine Baker, or musician Sidney Bechet. Rather, her objective is to scrutinize the motives of some of the artists who exploited the new trend to promote their own ideas of modernity. She examines, for example, the move toward primitivism in the fine arts, making some not-unfamiliar observations about the degree to which African art and African-American culture in general worked its magic on figures as diverse as Brancusi, Man Ray, and Picasso. The vogue for primitivism, of course, reflected in large degree the weakening of the traditional philosophical bases of Western culture (particularly Christianity) in the wake of WWI, but Archer-Shaw is sensitive to the contradictions inherent in this movement. During the course of her explorations, for example, Archer-Shaw looks at the many ways in which Christianity’s metaphorical juxtaposition of black and white as visual representations of good and evil helped indirectly to shape European thinking on questions of race and ethnicity. In addition, she traces the development of stereotypical 19th-century images of blacks in the popular arts as they were passed down to 20th-century Europeans (largely as comic archetypes in the mode of Stepinfetchit). These are not necessarily new or startling observations at this stage in the history of African-American cultural studies, but Archer-Shaw does have her moments (particularly when she sticks with her specialty, which is art). Her forays into sociology are less impressive.
An imperfect but noble effort.Pub Date: Nov. 27, 2000
ISBN: 0-500-28135-1
Page Count: 208
Publisher: Thames & Hudson
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: June 15, 2000
James Baldwin has come a long way since the days of Notes of a Native Son, when, in 1955, he wrote: "I love America more than any other country in the world; and exactly for this reason, I insist on the right to criticize her perpetually." Such bittersweet affairs are bound to turn sour. The first curdling came with The Fire Next Time, a moving memoir, yet shot through with rage and prophetic denunciations. It made Baldwin famous, indeed a celebrity, but it did little, in retrospect, to further his artistic reputation. Increasingly, it seems, he found it impossible to reconcile his private and public roles, his creative integrity and his position as spokesman for his race. Tell Me How Long the Train's Been Gone, for example, his last novel, proved to be little more than a propagandistic potboiler. Nor, alas, are things very much better in No Name In the Street, a brief, rather touchy and self-regarding survey of the awful events of the '60's — the deaths of Malcolm X and Martin Luther King, the difficulties of the Black Panther Party, the abrasive and confused relationships between liberals and militants. True, Baldwin's old verve and Biblical raciness are once more heard in his voice; true, there are poignant moments and some surprisingly intimate details. But this chronicle of his "painful route back to engagement" never really comes to grips with history or the self. The revelatory impulse is present only in bits and pieces. Mostly one is confronted with psychological and ideological disingenuousness — and vanity as well.
Pub Date: May 26, 1972
ISBN: 0307275922
Page Count: -
Publisher: Dial Books
Review Posted Online: Sept. 16, 2011
Kirkus Reviews Issue: May 1, 1972
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.
Photographer and author Stanton returns with a companion volume to Humans of New York (2013), this one with similarly affecting photographs of New Yorkers but also with some tales from his subjects’ mouths.
Readers of the first volume—and followers of the related site on Facebook and elsewhere—will feel immediately at home. The author has continued to photograph the human zoo: folks out in the streets and in the parks, in moods ranging from parade-happy to deep despair. He includes one running feature—“Today in Microfashion,” which shows images of little children dressed up in various arresting ways. He also provides some juxtapositions, images and/or stories that are related somehow. These range from surprising to forced to barely tolerable. One shows a man with a cat on his head and a woman with a large flowered headpiece, another a construction worker proud of his body and, on the facing page, a man in a wheelchair. The emotions course along the entire continuum of human passion: love, broken love, elation, depression, playfulness, argumentativeness, madness, arrogance, humility, pride, frustration, and confusion. We see varieties of the human costume, as well, from formalwear to homeless-wear. A few celebrities appear, President Barack Obama among them. The “stories” range from single-sentence comments and quips and complaints to more lengthy tales (none longer than a couple of pages). People talk about abusive parents, exes, struggles to succeed, addiction and recovery, dramatic failures, and lifelong happiness. Some deliver minirants (a neuroscientist is especially curmudgeonly), and the children often provide the most (often unintended) humor. One little boy with a fishing pole talks about a monster fish. Toward the end, the images seem to lead us toward hope. But then…a final photograph turns the light out once again.
A wondrous mix of races, ages, genders, and social classes, and on virtually every page is a surprise.Pub Date: Oct. 13, 2015
ISBN: 978-1-250-05890-4
Page Count: 432
Publisher: St. Martin's
Review Posted Online: July 27, 2015
Kirkus Reviews Issue: Aug. 15, 2015
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