Jacob Lawrence : the American struggle

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書誌事項

Jacob Lawrence : the American struggle

edited by Elizabeth Hutton Turner and Austen Barron Bailly ; with contributions by Derrick Adams ... [et al.]

Peabody Essex Museum, 2019

  • : hbk

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注記

Exhibition catalogue

Catalog of an exhibition held at the Peabody Essex Museum, Salem, Jan. 18-Aug. 9, 2020, and at the Metropolitan Museum of Art, New York, Aug. 29-Nov. 1, 2020, and at Birmingham Museum of Art, Birmingham, Alabama, Nov. 20, 2020-Feb. 7, 2021, and at Seattle Art Museum, Seattle, Mar. 5-May 23, 2021, and at the Phillips Collection, Washington, DC, June 26-Sept. 19, 2021

Some copies have different exhibition period: Peabody Essex Museum, Jan. 18-Apr. 26, 2020; Metropolitan Museum of Art, New York, June 2-Sept. 7, 2020; Birmingham Museum of Art, Birmingham, Alabama, Oct. 17, 2020-Jan. 10, 2021; Seattle Art Museum, Seattle, Feb. 25-May 31, 2021; Phillips Collection, Washington, DC, June 26-Sept. 19, 2021

Includes bibliographical references and index

内容説明・目次

内容説明

This publication sets the precedent for the next generation of Lawrence scholars and studies in modern and contemporary discourse. The American Struggle explores Jacob Lawrence's radical way of transforming history into art by looking at his thirty panel series of paintings, Struggle . . . from the History of the American People (1954-56). Essays by Steven Locke, Elizabeth Hutton Turner, Austen Barron Bailly, and Lydia Gordon mark the historic reunion of this series-seen together in this exhibition for the first time since 1958. In entries on the panels, a multitude of voices responds to the episodes representing struggle from American history that Lawrence chose to activate in his series. The American Struggle reexamines Lawrence's lost narrative and its power for twenty-first century audiences by including contemporary art and artists. Derrick Adams, Bethany Collins, and Hank Willis Thomas invite us to reconsider history through themes of struggle in ways that resonate with Lawrence's artistic invention. Statements by these artists amplify how they and Lawrence view history not as distant period of the past but as an active imaginative space that is continuously questioned in the present tense and for future audiences.

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