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Walker's silhouette images work to bridge unfinished folklore in the Antebellum South, raising identity and gender issues for African-American women in particular. Walker uses images from historical textbooks to show how enslaved African Americans were depicted during Antebellum South. [12]
The Rachel Creefield silhouette (c. 1825) is believed to be the earliest known hollow-cut silhouette of an African-American woman. [1] It is held in the collection of the Smithsonian. Rachel Creefield was employed by the Dickey family of Chester County , Pennsylvania.
African-American art is known as a broad term describing visual art created by African Americans. The range of art they have created, and are continuing to create, over more than two centuries is as varied as the artists themselves. [ 1 ]
Betye Irene Saar (born July 30, 1926) is an American artist known for her work in the medium of assemblage.Saar is a visual storyteller and an accomplished printmaker. Saar was a part of the Black Arts Movement in the 1970s, which engaged myths and stereotypes about race and femininit
Aaron Douglas (May 26, 1899 – February 2, 1979 [1]) was an American painter, illustrator, and visual arts educator. He was a major figure in the Harlem Renaissance. [2] He developed his art career painting murals and creating illustrations that addressed social issues around race and segregation in the United States by utilizing African-centric imagery. [3]
Rogerline Johnson (1927 in Columbus, Arkansas – 1996 in Helena, Arkansas) was an American photographer, best known for his photos of African-American life in the Arkansas Delta in the 1950s and 1960s. He maintained a portrait studio, but also traveled the Arkansas Delta region to photograph lakeside baptisms, blues festivals, and daily life.
Something Good – Negro Kiss is a short silent film from 1898 of a couple kissing and holding hands. It is believed to depict the earliest on-screen kiss involving African Americans and is known for departing from the prevalent and purely stereotypical presentation of racist caricature in popular culture at the time it was made.
The paintings depict a family of four African-American slaves on horseback in the murky early morning light. [7] In front, a child sits in the lap of his father, with his mother riding on the back of the horse holding an infant. [8] The horse appears in motion, galloping away from the source of their enslavement and towards Union Army lines. [1]
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