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oa Norman Lewis’ in the 1960s: Diasporic Image Concepts of Materiality and Historicity

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With its negotiation of sacred concepts of image and temporality, Lewis's paintings from the 1950/60s represent a groundbreaking contribution to the establishment of a new concept of the pictorial within the Black Arts Movement and in the transatlantic space. In its reference to signs and objects, characterized by sacred phenomenology and totemism, the abstractions reveal an artistic processing of ritual practices and traditions. Simultaniously, they testify to Lewis's proximity and influence on the art of the New York School, for which considerations on the image, its pictorial means and agency become as fundamental as the color theory since European modernity. In constriction of diasporic image concepts and a decided positioning against the exclusionary visibility policies in U.S. with the tone-setting contemporary art theory of abstraction, the relevance of migratory object and material cultures become as tangible as the questioning of historical and art-historical concepts of time and epoch.

Keywords: African American art ; African diaspora and transatlantic space ; black abstraction ; Black Arts Movement ; Black paintings ; concept of the pictorial ; history ; image theory ; material ; Modernity ; New York School ; phenomenology ; signs and objects ; temporality ; totemism

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Norman Lewis’ Black Paintings in the 1960s: Diasporic Image Concepts of Materiality and Historicity
Intellect , 214 (2024); https://doi.org/10.1386/9781789389616_15
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References

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References

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  2. Baker, Houston A., and Merinda Simmons, eds. The Trouble with Post-Blackness, Columbia University Press, 2015.
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  4. Barr, Alfred H. “Preface and Acknowledgement.” Prehistoric Rock Pictures in Europe and Africa: From Material in the Archives of the Research Institute for the Morphology of Civilization – Frankfort-on-Main, edited by Leo Frobenius and Douglas C. Fox, exh. cat. Museum of Modern Art, New York, 1937, pp. 9–11.
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  6. Bearden, Romare, and Harry Henderson. A History of African-American Artists: From 1792 to the Present, Pantheon, 1993.
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  7. Bennett, Gill. “Migratory Aesthetics: Art and Politics beyond Identity.” Art and Visibility in Migratory Culture: Conflict, Resistance, and Agency, edited by Mieke Bal and Miguel Á. Hernández-Navarro, Rodopi, 2011, pp. 107–126.
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  16. Frascina, Francis. “Institutions, Culture, and America's ‘Cold War Years’: The Making of Greenberg's ‘Modernist Painting.’” Oxford Art Journal, vol. 26, no. 1, 2003, pp. 71–97.
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  17. Genge, Gabriele. Black Atlantic: Andere Geographien der Moderne, Düsseldorfer Kunsthistorische Schriften 11, Düsseldorf University Press, 2012.
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  29. Jones, Kellie. EyeMinded: Living and Writing Contemporary Art. Duke University Press, 2011.
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  30. Konaté, Yacouba. “Die andere Malerei: die Malerei des Anderen.” Kulturtechnik Malen: Die Welt aus Farbe erschaffen – Zur Grundlegung graphischer und figurativer Operationen, edited by Meret Kupczyk et al., Wilhelm Fink, 2018, pp. 117–130.
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  32. Kunst der Vorzeit: Felsbilder aus der Sammlung Frobenius, edited by Karl-Heinz Kohl et al., exh. cat. Martin-Gropius-Bau, Berlin, 2021.
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  34. Lambrusse, Rémi. “Prähistorie und Moderne.” Felsbilder aus der Sammlung Frobenius, edited by Karl-Heinz Kohl et al., exh. cat. Martin-Gropius-Bau, Berlin, 2021, pp. 222–236.
     [Google Scholar]
  35. Lewis, Norman. “Thesis (1946).” Norman Lewis, 1909-1979: From the Harlem Renaissance to Abstraction, edited by Corrine Jennings, exh. cat. Kenkeleba Gallery, New York, 1989, Addenda, p. 63.230
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     [Google Scholar]
  37. Mersch, Dieter. “Malen als Alchemie.” Kulturtechnik Malen: Die Welt aus Farbe erschaffen - Zur Grundlegung graphischer und figurativer Operationen, edited by Meret Kupczyk et al., Wilhelm Fink, 2018, pp. 103–116.
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  39. Norman, W. Lewis, 1909–1979: The Second Transition, 1947–1951: Abstractions, text by Gylbert Coker, exh. cat. Bill Hodges Gallery, New York, 1994.
  40. Peffer, John. “The Diaspora as an Object.” Looking Both Ways: Art of the Contemporary African Diaspora, edited by Laurie Ann Farrell, exh. cat. Museum for African Art, New York, 2003, pp. 22–36.
     [Google Scholar]
  41. Prange, Regine. Das ikonoklastische Bild. Piet Mondrian und die Selbstkritik der Malerei, Wilhelm Fink, 2006.
     [Google Scholar]
  42. Prehistoric Rock Pictures in Europe and Africa: From Material in the Archives of the Research Institute for the Morphology of Civilization – Frankfort-on-Main, edited by Leo Frobenius and Douglas C. Fox, exh. cat. Museum of Modern Art, New York, 1937.
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  44. Rancière, Jacques. Die Aufteilung des Sinnlichen. Die Politik der Kunst und ihre Paradoxien. [2000]. Second edition, edited by Maria Muhle, translated by Maria Muhle et al., b_books, 2008.
     [Google Scholar]
  45. Schwarte, Ludger. Pikturale Evidenz: Zur Wahrheitsfähigkeit der Bilder, Wilhelm Fink, 2015.
     [Google Scholar]
  46. Schwarte, Ludger. “Negation durch Farbe – ein Versuch über die Kulturtechnik Malen.” Kulturtechnik Malen. Die Welt aus Farbe erschaffen: Zur Grundlegung graphischer und figurativer Operationen, edited by Meret Kupczyk et al., Wilhelm Fink, 2018, pp. 21–45.
     [Google Scholar]
  47. Schwarte, Ludger. Denken in Farbe: Zur Epistemologie des Malens. August, 2020.
  48. Shannon, Helen M. “Norman Lewis: Presence and Absence in Exhibition History, 1933–1980.” Procession: The Art of Norman Lewis, edited by Ruth Fine, exh. cat. Pennsylvania Academy of the Fine Arts, Philadelphia, 2015, pp. 233–243.
     [Google Scholar]
  49. Siegel, Jeanne. “Why Spiral?” Art News, vol. 65, no. 5, 1966, pp. 48–52, 67–68, reprint Nka. Journal of Contemporary African Art, no. 29, 2011, pp. 78–85.
     [Google Scholar]
  50. Spiral, exh. cat. One Forty-Seven, New York, 1965.
  51. Spriggs, Edward S. “Field Notes: Raising the ‘Studio’ at Studio Museum.” Nka. Journal of Contemporary African Art, no. 29, 2011, pp. 72–77.
     [Google Scholar]
  52. Stercken, Angela. “[Arte]fact, Object, Image. Jean-Michel Basquiat's Archives.” Art History and Fetishism Abroad: Global Shiftings in Media and Methods, edited by Gabriele Genge and Angela Stercken, transcript/Columbia University Press, 2014, pp. 129–158.231
     [Google Scholar]
  53. Stercken, Angela. “Temporal Concepts of the Present and Their Aesthetic Negotiation in Black Arts Movement and ‘Black Atlantic’.” Aesthetic Temporalities Today. Present, Presentness, Re-Presentation, edited by Gabriele Genge et al., transcript/Columbia University Press, 2020, pp. 143–168.
     [Google Scholar]
  54. Stewart, Jeffrey C. “Beyond Category: Before Afrofuturism There was Norman Lewis.” Procession: The Art of Norman Lewis, edited by Ruth Fine, exh. cat. Pennsylvania Academy of the Fine Arts, Philadelphia, 2015, pp. 161–191.
     [Google Scholar]
  55. Sylvester, David. “Newman-II.” [1994]. About Modern Art: Critical Essays 1948–96, edited by David Sylvester, Chatto & Windus, 1996, pp. 396–398.
     [Google Scholar]
  56. Womack, Ytasha L. Post Black: How a New Generation Is Redefining African American Identity, Chicago Review, 2010.
     [Google Scholar]

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